Abstract

In 1951, at the Cannes Film Festival, Isidore Isou screened Traite de bave et d’eternite [Treatise on Venom and Eternity], a typical example of “discrepant” editing because of the juxtaposition of film and soundtrack. In it, the nonchalant strolling [flânerie] of Daniel, an Isou-like dandy from St.Germain-des-Pres disturbing the spectators’ cinematic decorum is punctuated by snippets of found film—probably retrieved from the stocks of the Service Cinematographique des Armees [the Military Fil...

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