Sylvain George’s Minor Mode, or Cinema at the Margins of its Fragile Community

This chapter explores the ‘minor’ subjectivity of Sylvain George’s film-work, drawing on Deleuze and Guattari’s notion of minor literature and Henri Michaux’s ‘left-handed’ poetics. It claims that George’s unstable camera work, combined with the oscillation between the objectives of documentary observation and the sequences of lyrical expressionism, disrupt the traditional topographer’s position, resulting in a dynamic relation of inclusion. It closes by suggesting that this ‘minor’ mode, marked by its recurrent estrangement from the ‘real,’ is a crucial vehicle for capturing the complexity of the contemporary landscape of informal refugee camps in and around the cities of northern France.