{"title":"Cinema at a Standstill∗","authors":"Tom McDonough","doi":"10.1162/octo_a_00433","DOIUrl":null,"url":null,"abstract":"Abstract “Cinema at a Standstill” examines the theory and practice of film within the Situationist International, circa 1968. Questioning Guy Debord's refusal to document the group's participation in the abortive revolution of May-June ‘68, the essay explores the Situationists' ambivalence to the image as mnemonic device. Their refusal of film's iconicity did not, however, mean a complete refusal of its logic: The austere, text-based posters produced by the SI during the uprising are here read as a species of revolutionary intertitle for a film running in real time along the streets. Sharing the aniconic quality found at the same moment in the work of Daniel Buren and Jean-Luc Godard, this Situationist imageless cinema is read through the dialectic of repetition and stoppage first developed by Giorgio Agamben.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"79-95"},"PeriodicalIF":0.4000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"OCTOBER","FirstCategoryId":"1092","ListUrlMain":"https://doi.org/10.1162/octo_a_00433","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract “Cinema at a Standstill” examines the theory and practice of film within the Situationist International, circa 1968. Questioning Guy Debord's refusal to document the group's participation in the abortive revolution of May-June ‘68, the essay explores the Situationists' ambivalence to the image as mnemonic device. Their refusal of film's iconicity did not, however, mean a complete refusal of its logic: The austere, text-based posters produced by the SI during the uprising are here read as a species of revolutionary intertitle for a film running in real time along the streets. Sharing the aniconic quality found at the same moment in the work of Daniel Buren and Jean-Luc Godard, this Situationist imageless cinema is read through the dialectic of repetition and stoppage first developed by Giorgio Agamben.
期刊介绍：
At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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