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społeczeństwo spektaklu (1973)

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Debord G., Kwaterko M.

Panoptikum

2008

issue 7(14)

80-102

The author of the permanent critique of the society of the spectacle uses its primary medium himself – isn’t that paradoxical? Debord used cinema in extremely nonconformist way, rejecting all its secure conventions. He was interested not in creating cinematic works of art, but rather subversive provocations. Each of his films can serve as an example of the radical montage of verbal message and images as well as radical critique of society. The ideal of Brechtian cinema, associated with counterculture, has found its most profound realization in Debord’s works. One of six films created by this writer, strategist and alcoholic, as he used to call himself, The Society of the Spectacle (1973), is probably the world’s first film adaptation of a theory formulated in literary form in 1967, the eve of May ‘68 (although there were similar projects before Debord, the most famous being Eisenstein’s idea of adapting for cinema Marx’s Capital). Debord’s films are subversive and neo-avant-garde. The most recognizable syntax of his cinematic language is the technique of found footage. He reaches not only for cinematic material, but television, advertisements etc. as well. The anti-spectacular heart of these experiments is Debord’s deep conviction that existing images only corroborate existing lies. This text is an excerpt from Debord’s complete Cinematic works published by Korporacja Ha!art (Kraków 2007), translated and introduced by Mateusz Kwaterko.

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społeczeństwo spektaklu (1973)