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Topic: The Goddess of 1967

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	Materialism and Spiritualism in The Goddess of 1967
		Goddess seems to say it's a matter of bad luck that one is born into the hands of such a man and that the only way to eject him from one's soul and spirit is to confront him directly.
		Goddess continuously strikes its emotional notes in this manner - by pitting the good, the innocent and vulnerable against the blatantly evil and ugly, consequently reducing the film to a facile, pretentious exercise.
		Goddess is also constrained by a programmatic quality in the characters and the story.
	www.sensesofcinema.com /contents/01/13/goddess.html (1790 words)

	NRC Handelsblad - Cultuur: Film: Existentiële roadmovie vol barok (Site not responding. Last check: 2007-10-26)
		In The Goddess of 1967 leent zij opnieuw de ogen van een buitenstaander, namelijk van een jonge Japanse man (JM, gespeeld door bokser en fotomodel Rikiya Kurokawa) die naar Australië komt om een Godin te kopen.
		Maar misschien is het gevaar wel potsierlijk of onschadelijk.
		Nadat je The Goddess of 1967 hebt veroverd, wil je hem ook verdedigen.
	www.nrc.nl /cultuur/film/990012745502.html (567 words)

	The Goddess of 1967 (2000) (Site not responding. Last check: 2007-10-26)
		"Goddess" stands for French "Déesse", the nickname of Citroën DS, the name of a famous car designed in the fifties...
		Clara Law has a very interesting and personal view which shows us her own interesting personality that she is. Because of that movie I can't let go of that.
		She succeeds in showing us her own vision of The Goddess of 1967 because she stays consequent by creating a contemporary and postmodern feeling.
	us.imdb.com /Title?0255195 (492 words)

	THE GODDESS OF 1967
		The Goddess of 1967 (Law, 2000) is Clara Lawâs second film since moving to Australia in 1995 with husband and creative collaborator Eddie Fong.
		In the Goddess of 1967 there is both a continuance of the traditional treatment of landscape in Australian film and a departure.
		The Goddess of 1967 (Law, 2000) is a fragmented feast.
	wwwmcc.murdoch.edu.au /ReadingRoom/film/dbase/2003/goddess.htm (2742 words)

	"AN EXAMINATION OF CLARA LAW'S THE GODDESS OF 1967 AS A REPRESENTATION OF AUSTRALIAN CULTURAL IDENTITIES" (Site not responding. Last check: 2007-10-26)
		Clara Law's The Goddess of 1967 (2000) is a complex film that critically deals with a range of existential issues confronting Australian identities at the end of the 20th Century.
		The Goddess of 1967 disables conventional a narrative closure by constantly making gestures that point towards something beyond and outside the predictable conclusions of the 'minor' stories set up in the film.
		The Orpheus myth transcends The Goddess of 1967' authors by transforming Hope's character into an oracle, the medium through which B.G.'s identity (the in-bred offspring of Anglo-Irish Australia) and her relationship with her Japanese mate (symbolising her (dis)Oriental other) may be better understood.
	www.muse-apprentice-guild.com /october_2002/johngrech/literary_magazine.html (5095 words)

	The Goddess of 1967: triple j film reviews
		Goddess is a cryptic mosaic of a film about love, fear and redemption and it is a distinctly existential movie experience which gathers powerful momentum in every scene.
		Given its unique qualities, global identity, emotional power, transmuted aesthetics and confident command of film language, perhaps it's not too bold to suggest that The Goddess of 1967 is a film which, especially in 2001, Australians should be proud to call their own.
		The Goddess of 1967 does just that - it powerfully mines the memories and vulnerabilities of both its frail human leads.
	www.abc.net.au /triplej/review/film/s286507.htm (295 words)

	Yumtzilob - artikel Manning, The Old and the Beautiful (Site not responding. Last check: 2007-10-26)
		The young goddess is depicted in four main activities: carrying a burden on her back, carrying birds or other animals on her shoulder, sitting opposite gods or animals (sometimes copulating), and holding small figures, probably children, before her.
		It is interesting to note that in their identification of the goddesses in the Dresden Codex, many researchers followed Thompson's early publications by assuming that the Postclassic Yucatec Maya worshipped a moongoddess called Ixchel and that this moongoddess was portrayed in the Dresden Codex as alternatively a young or old woman.
		In order to classify the goddesses of the pantheon, age is a useful classifier when dealing with the codex, but it might also very well prove to be a useful, meaningful general classifier in Mesoamerican religion, particularly in the study of representations (both pictographically and in texts) of divinities.
	www.yumtzilob.com /artikel_manning-old.htm (6520 words)

	canberra.citysearch.com (Site not responding. Last check: 2007-10-26)
		Getting about in a pink '67 Citroen "Goddess", she is brought by circumstances into contact with a Japanese man (model Rikiya Kurokawa in an impressive film debut).
		The Goddess Of 1967 is undoubtably one of the most exciting and ground-breaking Australian movies of the year.
		Goddess is an example of literate, intelligent non-mainstream film making that embraces rather than alienates its audience.
	canberra.citysearch.com.au /profile?fid=12&id=714&p=1 (295 words)

	IMDb user comments for The Goddess of 1967 (2000) (Site not responding. Last check: 2007-10-26)
		The Goddess of the title is a Citroen DS which a young Japanese Man agrees to buy over the internet.
		She succeeds in showing us her own vision of The Goddess of 1967 because she stays consequent by creating a contemporary and postmodern feeling.
		GODDESS OF 1967 has a few such scenes which I found particularly disturbing and I wish I had never seen this film because of those few disturbing scenes.
	www.imdb.com /CommentsShow?0255195 (1961 words)

	Confused and cold-hearted The Goddess of 1967 directed by Clara Law
		The Goddess of 1967 is the second and latest film made in Australia by Macau-born filmmaker Clara Law.
		According to Law, The Goddess of 1967 is an attempt to portray the dysfunctional character of contemporary life and personal relations.
		The Goddess of 1967 fails not because of its experimental visuals, non-linear narrative or choice of subject matter but because it does not address, let alone question, the social context that gives rise to feelings of alienation.
	www.wsws.org /articles/2001/apr2001/godd-a30.shtml (1480 words)

	The Goddess of 1967 Movie Poster
		Although, they weren't that common in the United States, where they were considered technically advanced but a bit of an oddity due to a lack of a dealer network.) Now, this seems like an odd choice for an automotive "dream car", but, hey, there's no accounting for taste.
		The young man locates a 1967 Goddess (see?) for sale on the internet.
		We also learn if the young Japanese man finds the "truth" and "meaning of life" he was searching for, and if there is also another "1967 Goddess" involved in the story.
	www.sd455.com /moviegoddess.htm (494 words)

	Dancer in the Dark (Site not responding. Last check: 2007-10-26)
		Na het in kruidenthee gedrenkte Floating life kiest Clara Law in The goddess of 1967 voor de magische combinatie van een Citroën en de Australische Outback.
		Vertrekpunt voor The goddess of 1967 is een kil appartement in Tokio, waar yup JM zijn luie leventje vult met het voeren van zijn twee koraalslangen.
		Voor 40.000 pond staat ze in Australië op hem te wachten, een glanzend rood exemplaar, bouwjaar 1967.
	www.schijndelfilm.nl /Goddess.htm (543 words)

	THE GODDESS OF 1967 (Site not responding. Last check: 2007-10-26)
		To his amazement, the owner has shot himself and his wife, leaving behind not only a big splash in the kitchen, but also their gorgeous but blind daughter (BG, played by Rose Byrne) and her kid brother.
		"Goddess" is no doubt an ambitious film, and it is ambition that wrecks it.
		What save "Goddess" from being a complete bore are the stunning cinematography and the fact that, well, Rose Byrne is absolutely hot.
	www.naturalbornviewers.com /archive/g/goddessof1967/review.htm (516 words)

	Andy's Film Diary -- Toronto International Film Festival 2000
		The Goddess of the title is a 1967 Citroën DS car and one of three central characters in this movie.
		For JM the possession of the Goddess becomes a quest to use memory to emulate an on screen hero and to fulfil a fantasy.
		For BG the Goddess is a link with the past and the one constant in her life that she can relate to.
	www.geocities.com /sooguy2001/film_2000/2000_09_08.html (1227 words)

	Goddess Of 1967 (2000) \| Reviews \| Guardian Unlimited Film
		Goddess of 1967 is a true master piece of filming.
		To some, the ending may not have made much sense, but to me, i thought that kind of ending was very appropriate as it stayed true to the character's personalities and any other ending may have spoiled it.
		Memento and Goddess of 1967 are definitely my 2 favourite movies for this year so far.
	film.guardian.co.uk /Reader_Review/0,,-86456,00.html (400 words)

	Tara and Nyai Lara Kidul: images of the divine feminine in Java
		The importance of the goddess for Dharmapala is evident from the fact that he carried her effigy in his banner (DASGUPTA 1967, 123; GHOSH 1980, 14).
		Ghosh, however, in contrast to Wayman and many other authors, does not believe that Tara as supreme goddess began with the Buddhists and was subsequently admitted to the Hindu pantheon; rather, she holds that "the chief inspiration for the Buddhist goddess Tara was derived from the Brahmanical concept of Devi (or Durga)" (GHOSH 1980, 20).
		That Nyai Lara Kidul's dual relationship with the Hindu goddesses Durga and Dewi Sri is still evident is probably due to the decline of Buddhism on Java owing to the disappearance of the Sailendra dynasty and the further development of Hinduism.
	ccbs.ntu.edu.tw /FULLTEXT/JR-EPT/roy.htm (8213 words)

	Movie Review - Goddess of 1967, The - eFilmCritic
		The Goddess of 1967 has garnered awards from several international film festivals, and it's not difficult to understand why: after a diet of soporific Russian tedium and detached German nihilism, its comparative accessibility will soothe the soul of many a glassy-eyed festival attendee.
		This should not be taken as a criticism of Byrne's performance, however: she's on the record as stating that she was displeased with her efforts, which suggests that she is indeed her own harshest critic.
		The Goddess of 1967 is not that film, for it's akin to a sketch that captures the underlying appeal of something truly beautiful, but its aspirations are not entirely unrealised - there are moments when, as the title suggests, it borders on the divine.
	www.efilmcritic.com /review.php?movie=5154 (909 words)

	THE GODDESS: A BIBLOGRAPHY OF BOOKS (Site not responding. Last check: 2007-10-26)
		Male-oriented Western scholars usually regarded the Goddess as a curious aspect of Asian and tribal traditions, with little relevance to Western culture after the decline of ancient Greece and Rome.
		There also are a number of books in which various aspects of the Goddess are presented by authors particularly interested The Goddess and Her relationship with the rest of reality.
		Mary is included even though she is not a Goddess in the traditional sense of the word.
	www.humboldt.edu /~graham8/goddess.bib.html (1021 words)

	Clara Law: an impression of permanence (Site not responding. Last check: 2007-10-26)
		I heard that the inspiration for The Goddess of 1967 came from a road trip you and Eddie did in 1997.
		His attraction to the car (The Goddess) is because it’s a physically beautiful thing whereas her attraction is its history, its emotional, intangible presence.
		Both Floating Life and The Goddess of 1967 are films where characters are taken out of their natural environment and placed in alien landscapes.
	www.realtimearts.net /rt43/mccredie.html (1695 words)

	Film: The Goddess of 1967
		The Goddess of 1967 is their second Australian film.
		If the broader framework of The Goddess of 1967 is relatively familiar, Clara Law nevertheless uses it to carry some extraordinarily vivid sequences, which add up to something greater than their apparent sum.
		Although The Goddess of 1967displays the same affection for the absurdity of human behaviour that Clara Law revealed in her previous film A Floating Life, it doesn't offer easy laughs or cheap thrills.
	sunday.ninemsn.com.au /sunday/film_reviews/article_796.asp (880 words)

	Clara Law
		The visual world of The Goddess of 1967 – the characters, the landscape of the Australian outback and the steel and glass mammoths of Tokyo – is painted with corrupt colors on high contrast and thus becomes both strange and familiar.
		BG relies on “the goddess” and JM's guidance to travel back in time and space to reconcile with the past while being transformed into “the goddess” herself, and in the process JM is able to transfer his fetish with the car to love for BG.
		The Goddess of 1967 (2000) cowritten with Eddie Fong
	www.sensesofcinema.com /contents/directors/03/law.html (3511 words)

	International acclaim for "The Goddess of 1967"
		"The Goddess in question is a 1960s Citroen DS (familiarly known as the "goddess" that a young Japanese salaryman, J.M., goes to Australia to buy after finding it on the internet.
		"The Goddess of 1967" is a bold narrative experiment supported by some striking and surreal photography.
		With its cool detached mood and brave, stylised manner, Goddess is co-scripted by Law’s longtime collaborator (and husband) Eddie Fong, whose story sets a troubled blind girl on the road with a hip young Japanese salaryman.
	www.wj.com.au /newsboa/2001/boa/boa014.html (685 words)

	Clara Law/The goddess of 1967 - de Filmkrant net-versie van mei 2001/nr 222
		In Clara Law's The goddess of 1967 reizen een blind meisje en een Japanse jongen door een duister Australië.
		Het extreme kleurgebruik in The goddess of 1967, het isolement van de twee jonge hoofdpersonen in het landschap, het geluidsontwerp waarin een gekmakende wind raast ("ik wilde hun onuitgesproken gedachten hoorbaar maken"), het waren voor Clara Law allemaal filmische vertalingen voor een zoektocht naar de duistere aspecten van de menselijke natuur.
		Vertrekpunt voor The goddess of 1967 is een kil appartement in Tokio, waar yup JM zijn luie leventje vult met sekspelletjes en het voeren van zijn twee koraalslangen.
	www.filmkrant.nl /av/org/filmkran/archief/fk222/law.html (1653 words)

	AUFS Reviews: The Goddess of 1967
		The title refers to a classic car, the Citroen DS (ie Déesse, ‘Goddess’), in production from 1955 to 1975, an icon of futurism and efficiency (so I’m told).
		This is certainly the tone of The Goddess, generated by a self-conscious cinematic style: over-bleached photography, disorienting camera angles, rapid editing and sudden changes in background noise.
		Its symbols and allusions tend to be overplayed or — as far as I can tell — meaningless, epitomised in the Goddess which, though a reoccurring feature, has no significance apart from being a plot device to get JM and BG together.
	www.aufs.org /reviews/film/goddess1967.php (295 words)

	Synoptique - Seeing with One’s Eyes Closed : A Formal and Stylistic Analysis of THE GODDESS OF 1967
		The tone is serious but the meaning unclear as he types: “how good is she?” The fizzle of a cigarette emphasizes a final jump to JM, framed by the window, and illuminated once again by a warm glow.
		Though the films are not easily comparable, what they share in their brilliant use of melodrama and mise-en-scene is a stylistic acuity that points to the directors’ bold strategies for enlivening the material of the script.
		In the end, we return to the Goddess, that symbol of the past “which holds the key to the future” (Villella 2).
	www.synoptique.ca /core/en/articles/goddess (4152 words)

	de Volkskrant - Digitaal archief (Site not responding. Last check: 2007-10-26)
		In The Goddess of 1967 rijgt zij betoverende beelden aan elkaar, zonder zich door realisme in de weg te laten zitten.
		The Goddess of 1967, Regie: Clara Law., Met: Rose Byrne, Rikiya Kurokawa., Te zien in acht zalen, waaronder Rialto Amsterdam, Haags Filmhuis, Lantaren/Venster Rotterdam.
		In 'The Goddess of 1967' laat regisseur Clara Law een jonge Japanner met een blind meisje door Australië trekken.
	zoek.volkskrant.nl /zoek?text=goddess%3B%20law&ADOC=3&PRD=10y&SEC=%2A&SO=%2A&DAT=%2A&SORT=date&FDOC=0 (338 words)

	Movie Info for The Goddess of 1967 on MSN Movies
		Two young people with little in common are thrown together under unusual circumstances in this offbeat drama directed by Clara Law, who made a number of well-received films in Hong Kong before emigrating to Australia.
		However, when Yoshiyashi arrives at the home of the man selling the car, he makes a shocking discovery -- the owner has killed his wife and turned the gun on himself, leaving behind Deidre (Rose Byrne), the man's niece, who is both blind and emotionally unstable.
		The Goddess of 1967 was shown in competition at the 2000 Venice and Toronto film festivals.
	entertainment.msn.com /movies/movie.aspx?m=503310 (220 words)

	The Goddess of 1967 (2000) (Site not responding. Last check: 2007-10-26)
		Plot Summary: "Goddess" stands for French "Déesse", the nickname of Citroën DS, the name of a famous car designed in the fifties...
		I have seen this movie and would like to comment on it
		Discuss this movie with other users on IMDb message board for The Goddess of 1967 (2000)
	www.imdb.com /title/tt0255195 (312 words)

	[No title]
		Nobody was more surprised than Rose Byrne herself when she scored a Best Actress win at last year's Venice Film Festival as a blind woman in Clara Law's perplexing Goddess of 1967.
		A crowded Italian restaurant in downtown Toronto is the least likely place to find Aussie actress-of the-moment Rose Byrne, who just days ago had found out she had won the top acting prize at the Venice Film Festival.
		Not that she plays a character with quite the dramatic range as in Goddess, she wants to say, with raucous laughter.
	www.darkhorizons.com /news9/rose.htm (574 words)

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