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Glamour cannot exist without personal social envy being a common and widespread emotion.
John Berger
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John Berger
Age: 90 †
Born: 1926
Born: November 5
Died: 2017
Died: January 2
Art Critic
Art Historian
Author
Critic
Journalist
Novelist
Opinion Journalist
Painter
Poet
Screenwriter
Writer
Hackney
John Peter Berger
Common
Social
Cannot
Widespread
Without
Glamour
Envy
Exist
Emotion
Personal
More quotes by John Berger
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
All nationalisms are at heart deeply concerned with names: with the most immaterial and original human invention. Those who dismiss names as a detail have never been displaced but the peoples on the peripheries are always being displaced. That is why they insist upon their continuity - their links with their dead and the unborn.
John Berger
Ours is the century of enforced travel of disappearances. The century of people helplessly seeing others, who were close to them, disappear over the horizon.
John Berger
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
To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguises.
John Berger
Do you know the legend about cicadas? They say they are the souls of poets who cannot keep quiet because, when they were alive, they never wrote the poems they wanted to.
John Berger
The publicity image steals her love of herself as she is, and offers it back to her for the price of the product.
John Berger
Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.
John Berger
Autobiography begins with a sense of being alone. It is an orphan form.
John Berger
It can happen that a book, unlike its authors, grows younger as the years pass.
John Berger
'Fahrenheit 9/11' is astounding. Not so much as a film - although it is cunning and moving - but as an event.
John Berger
Everything in life, is a question of drawing a life, John, and you have to decide for yourself where to draw it. You cant draw it for others. You can try, of course, but it doesn't work. People obeying rules laid down my somebody else is not the same thing as respecting life. And if you want to respect life, you have to draw a line.
John Berger
To remain innocent may also be. to remain ignorant.
John Berger
The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.
John Berger
History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past
John Berger
Photography, because it stops the flow of life, is always flirting with death.
John Berger
We only see what we look at. To look is an act of choice.
John Berger
We who draw do so not only to make something observed visible to others, but also to accompany something invisible to its incalculable destination
John Berger
A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.
John Berger
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