John Berger Quotes - Page 6

Quotes about:

• What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.

  John Berger

  Art, Sky, People

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• What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind.

  John Berger

  Art, Cinema, Vagrants

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• Common-sense is part of the home-made ideology of those who have been deprived of fundamental learning, of those who have been kept ignorant.

  John Berger

  Home, Common Sense, Ignorant

  John Berger (2015). “A Fortunate Man: The Story of a Country Doctor”, p.66, Canongate Books

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• Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society ... recognises nothing except the power to acquire ... No other kind of hope or satisfaction or pleasure can any longer be envisaged within the culture of capitalism.

  John Berger

  Envy, Culture, Satisfaction

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• Today the discredit of words is very great. Most of the time the media transmit lies. In the face of an intolerable world, words appear to change very little. State power has become congenitally deaf, which is why but the editorialists forget it terrorists are reduced to bombs and hijacking.

  John Berger

  Lying, Media, Political

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• So time doesn't count, and place does?' I said this to tease her. When I was a man, I liked teasing her and she went along with it, consenting, for it reminded us both of a sadness that had passed.

  John Berger

  Sadness, Men, Doe

  John Berger (2007). “Here Is Where We Meet: A Story of Crossing Paths”, p.10, Vintage

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• Sometimes, because of its immediacy, television produces a kind of electronic parable. Berlin, for instance, on the day the Wall was opened. Rostropovich was playing his cello by the Wall that no longer cast a shadow, and a million East Berliners were thronging to the West to shop with an allowance given them by West German banks! At that moment the whole world saw how materialism had lost its awesome historic power and become a shopping list.

  John Berger

  Wall, Shopping, Shadow

  John Berger (2008). “Selected Essays of John Berger”, p.896, Vintage

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• The autobiographical doesn't interest me. I could think of few things less interesting than rooting about in my life.

  John Berger

  Thinking, Interesting, Interest

  "A radical returns" by Sean O'Hagan, www.theguardian.com. April 03, 2005.

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• Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.

  John Berger

  Art, Doors, Engineering

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• When a painter is working he is aware of the means which are available to him - these include his materials, the style he inherits, the conventions he must obey, his prescribed or freely chosen subject matter - as constituting both an opportunity and a restraint.

  John Berger

  Mean, Opportunity, Challenges

  John Berger (2011). “Sense of Sight”, p.203, Vintage

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• 'Fahrenheit 9/11' is astounding. Not so much as a film - although it is cunning and moving - but as an event.

  John Berger

  Moving, Events, Film

  "The beginning of history" by John Berger, www.theguardian.com. August 24, 2004.

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• Directors like Satyajit Ray, Rossellini, Bresson, Buñuel, Forman, Scorsese, and Spike Lee have used non-professional actors precisely in order that the people we see on the screen may be scarcely more explained than reality itself. Professionals, except fo the greatest, usually play not just the necessary role, but an explanation of the role.

  John Berger

  Reality, Order, Play

  John Berger (2014). “Selected Essays of John Berger”, p.480, Bloomsbury Publishing

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• We live in a dominant culture of ceaseless Departure and Progress that has so far lasted two or three centuries.

  John Berger

  Two, Progress, Three

  "Past present" by John Berger, www.theguardian.com. October 12, 2002.

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• The collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.

  John Berger

  Artist, Giving, Desire

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