A Quote by Marshall McLuhan
To say that "the camera cannot lie" is merely to underline the multiple deceits that are now practised in its name.
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[Cameras] tend to turn people into things and the photograph extends and multiplies the human image to the proportions of mass-produced merchandise and, [in the age of photography] the world itself becomes a sort of museum of objects that have been encountered before in some other museum and to say that the camera cannot lie is merely to underline the multiple deceits that are now practiced in its name.
It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.
Now, I underline - underline, underline, underline - nobody loves the outdoors as much as me. Nobody loves water as much as me.
The camera cannot leave the man, but the man can leave the camera. It's in the style of documentary where you make an agreement between a camera and a man and say, "I'm going to film you now."
The camera cannot lie, but it can be an accessory to untruth.
The true authenticity of photographs for me is that they usually manipulate and lie about what is in front of the camera, but never lie about the intentions behind the camera.
Modern multiple divorce is rooted in the fact that many are seeking in human relationships what human relationships can never give. Why do they have multiple divorce, instead of merely promiscuous affairs? Because they are seeking more than merely sexual relationship.
Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!
One of the things I learned early on was the system of believing: you have to believe in what you say. The camera is the arbiter of truth; it's the all-seeing eye that can pick out discrepancies. You can't lie to the camera. You must believe in what you're saying, or the audience won't believe you.
Marilyn Monroe wasn't even her real name, Charles Manson isn't his real name, and now, I'm taking that to be my real name. But what's real? You can't find the truth, you just pick the lie you like the best.
Many things we need can wait. The child cannot. Now is the time his bones are formed, his mind developed. To him we cannot say tomorrow, his name is today.
Can you nominate in order now the degrees of the lie? I will name you the degrees. The first, the Retort Courteous; the second, the Quip Modest; the third, the Reply Churlish; the fourth, the Reproof Valiant; the fifth; the Countercheck Quarrelsome; the sixth, the Lie with Circumstance; the seventh, the Lie Direct. All these you may avoid but the Lie Direct; and you may avoid that too, with an If. . . . Your If is the only peace-maker; much virtue in If.
As for language, almost everything goes now. That is not to say that verbal taboos have disappeared, but merely that they have shifted somewhat. In my youth, for example, there were certain words you couldn't say in front of a girl; now you can say them, but you can't say 'girl'.
O my God, how does it happen in this poor world that you are so great and yet nobody finds you, that you call so loudly and yet nobody hears you, that you are so near and yet nobody feels you, that you give yourself to everybody and yet nobody knows your name? Men flee from you and say they cannot find you; they turn their backs and say they cannot see you; they stop their ears and say they cannot hear you.
The woman who cannot tell a lie in defense of her husband, is unworthy of the name of wife.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
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