Isidore Isou

A look back at the social movements, revolts and youth subcultures from the post-war period to the present day: after the World War II, the left-bank of Paris became a mecca for jazz and alternative living, youth culture was born with trailblazing American movies, and rock became the soundtrack to a generation that wanted to change everything.

A six-part British television travel series written, directed, and presented by Orson Welles for ITV in 1955. Filmed entirely in Europe, the series follows Welles through Vienna, the Basque Country, Madrid, Paris’s Saint-Germain-des-Prés, and London’s Chelsea Pensioners, blending travelogue, cultural portraiture, and personal essay. Moving between documentary observation and reflective commentary, the episodes combine interviews, local history, and Welles’s distinctive narration into a series that functions as both travel film and cinematic essay.

In this experimental film, Isidore Isou, the leader of the lettrist movement, lashes out at conventional cinema and offers a revolutionary form of movie-making: through scratching and bleaching the film, through desynchronizing the soundtrack and the visual track, through deconstructing the story, he aims to renew the seventh art the same way he tried to revolutionize the literary world.

Debord directed his first film, "Hurlements en faveur de Sade" in 1952 with the voices of Michele Bernstein and Gil Holman. The film has no actual images; instead, it shows bright white when there is speaking and black when there is not. Long silences separate speaking parts. The film ends with 24 minutes of black silence.

No description available.

This film is composed of images collected then scratched, colored, scratched, etc. which have no direct or indirect relation with the sound column. As in almost all Lettrist films, sound comes first over image. 16mm / color / sound

“A pink moving screen will stand at the entrance to the theatre, in the night. One hour before the screening a projectionist will show Griffith’s Intolerance on this screen. The start of the film will be announced at 8.30 but no one will enter before 9.30. During these 60 minutes of waiting, people on the first floor of the building will shake out very dusty carpets, and someone else will throw ice water on the heads of those spectators waiting for the screening. Some actors who have infiltrated the crowd will insult other actors on the first floor. At this moment only, and to stop the beginning of a scandal, the doors of the theatre will open…”