Dans son discours de reception du prix Adorno, publie ensuite sous le titre Fichus, Jacques Derrida deploie une pensee du reve, dans les deux sens de cette expression: une pensee qui pense le reve et une pensee qui serait secretee par le reve....

Marc Fournel, Le puits, installation, Galerie d'Ottawa. Du 10 decembre 1998 au 14 fevrier 1999 La troisieme espece de reconnaissance vient de la memoire: la vue d'un objet la provoque [...] Aristote, La Poetique Marc Fournel presentait a la Galerie...

"Every Man for Himself" has been widely hailed as a return to [Godard's] great, innovative work of the sixties. It's wonderful to feel the pull of Godard's images again, to feel the rhythmic assurance. There was a special, anarchic sensuousness in the hasty, jerky flow of a Godard film. And there still is. In "Every Man for Himself," he demonstrates his nonchalant mastery; he can still impose his own way of seeing on you. But the movie may also make you feel ...

Though I have some serious reservations about [Every Man for Himself] and the post-modern tradition it exemplifies, it is nonetheless an important work of art, a signal event in film history. Godard's most impressive achievement is to refashion the formal tools of naturalism. Until now, the approach has been not to call attention to the medium but to focus attention on the development of plot and characters. He expands the mode by employing a whole range of cinematic devices—slow motion, freez...

No Godard film since Pierrot le fou has excited me as much as Sauve qui peut (La Vie) [released in the United States as Every Man for Himself]. Though his feeling for narrative has still not progressed from A to B and his disdain for psychological consistency and sociological probability is as outrageously apparent as ever, his zest for cinema is undiminished. Sauve qui peut is perhaps more like a piece of music than a movie. Every image is suffused with such elegant and exquisite insights into what makes t...