Quote:
Guy Debord’s answer to the criticism regarding his previous film, “The Society of the Spectacle”–a film adaptation of his Situationist manifesto, and a sharp commentary on contemporary society and the power of the image untethered from its original context.

Réfutation de tous les jugements, tant élogieux qu'hostiles, qui ont été jusqu'ici portés sur le film 'La société du spectacle' (1975).mkv

General
Container:  	Matroska
Runtime: 	22 min 9 s
Size: 	388 MiB
Video
Codec: 	x264
Resolution: 	960x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	2 320 kb/s
BPP: 	0.175
Audio
#1:  	French 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/E7F1B8497A1CF5A/Refutation_de_tous_les_jugements,_tant_elogieux_qu’hostiles,_qui_ont_ete_jusqu’ici_portes_sur_le_film_’La_societe_du_spectacle’_(1975).mkv

Language(s):French
Subtitles:English

The post Guy Debord – Réfutation de tous les jugements, tant élogieux qu’hostiles, qui ont été jusqu’ici portés sur le film ‘La société du spectacle’ AKA REFUTATION OF ALL THE JUDGMENTS, PRO OR CON, THUS FAR RENDERED ON THE FILM… (1975) first appeared on Cinema of the World.

Guy Debord’s landmark cinematic analysis of consumer society is based on his influential sociological book “La société du spectacle” (1967). Debord was a leading member of the avant-garde art movement ‘Situationist International’. This cinematic essay uses their method of ‘détournement’ to decontextualize and rearrange preexisting audiovisual materials and texts to critizise them and create new meaning. The result is a subversive collage of ideological (moving) images from socialist and capitalist societies that are presented here as artefacts of a global media ‘spectacle’: Social relations between people are mediated by artificial images and false representations that transform humans into mere passive consumers and ‘spectators’ of their alienated existence. Guy Debord’s motivation was to create a radical social critique and a disruptive, anti-illusionist cinema as an antidote and revolutionary tool against the dominant cultural and sociopolitical forces of his time.

San Francisco filmmaker Konrad Steiner has produced a dubbed version of this film using Ken Knabb’s English translation as read by artist/scholar Dore Bowen. Konrad also located and reinserted the original English-language clips from the many quoted films (which in Debord’s film were mostly dubbed in French). This enables English-speaking viewers to pay full attention to the images instead of trying to follow subtitles, and thus better perceive the complex interplay between montage, image, and language through which Debord presents his theses.

1.34GB | 1s 27m | 718×538 | mkv

https://nitro.download/view/FA483E9155D1C0B/Society.of.the.Spectacle.1973.DVDRIP.x264.AC3.KJNU.mkv

Language:English
Subtitles:English, French. Hardcoded Fr & En subtitles in some scenes

The post Guy Debord – La société du spectacle AKA Society of the Spectacle [English Version] (1974) first appeared on Cinema of the World.

Except for a few brief evocations of Debord’s “art” during the first ten minutes or so, most of this “antitelevisual” video consists of television clips illustrating the extreme degradation and delirium of the present society. It’s a powerful denunciation, but not so deft and subtle as Debord’s films, perhaps because it was made during the worsening stages of his final illness. Presumably intended as a parting shot at the society he detested, it was completed shortly before his death in November 1994 and shown January 9, 1995, on a French cable channel along with La Société du Spectacle and Réfutation de tous les jugements (whence the video copies that have since circulated). Debord stated that In girum was his last film and does not seem to have considered this video as part of his “complete cinematic works,” so it has not been included in the present collection. Queries about it should be addressed to Brigitte Cornand, c/o Canal Plus, 85/89 Quai André Citroën, 75711 Paris cedex 15, France.

938MB | 59:45 | 720X528 | avi

https://nitro.download/view/192F8753C0137EE/Guy_DEBORD,_son_art_et_son_temps_(1994).avi
https://nitro.download/view/46AFD58259F1F4D/Guy_DEBORD,_son_art_et_son_temps_(1994)_-_eng_04.srt

Language:French
Subtitles:English

The post Brigitte Cornand – Guy Debord, son art et son temps (1995) first appeared on Cinema of the World.

This film by Guy E. Debord is based on his 1967 book of the same title both of which convey ideas about the consumer capitalism’s mode of production and the effects on everyday life. Though both sources use a different means of communication they both powerfully convey the ideas of the situationists. I wont rant on about the ideas contain within this film which are quite profound and have influenced heavily on the Anti-Capitalist movement and post-structuralism through thinkers like Jean Baudrillard. The structure of the film itself is a series of shots from Hollywood films to soviet “collective hero” film experiments to soft-core porn(nothing past topless) to archival footage of historical events(e.g. May 68 revolt in France) and representations of everyday life. The way in which the scenes are manipulated work well with the voice over commentary reinforcing the ideas while hitting emotional notes. The Music also contributes well to the emotional sentiment which the director wants to be associated with different ideas and issues. The technique used reminds me of Wagner, how he used the structure of music to convey hopelessness and the philosophy of Schopenhauer in “The Ring” covering over the once socialists allegory for the contradiction of modernity. Debord and the situationists used their music to convey of the feeling of hope and the spirit negation (the negation of capitalism and the creation of a new “totality” of “situations”). Debord during this film highlights the influences of the “situationits” in the agitation for May 68 (the largest general strike in history). Henri Lefebvre criticized Debord on this point expressing the view that the situationists greatly exaggerate their influence on events. Other then the self-pampering which is small fraction of the film it is a well done piece of radical documentary both in form and content (style and ideas, though this dichotomy is to come degree false) which is quite interesting just for those uninterested or hostile towards Revolutionary Anti-Capitalism.

1.38GB | 3h 37mn | 1:27:18 | avi

https://nitro.download/view/CD09B304E68A682/The_Society_of_the_spectacle_-_Guy_Debord_1973.avi
https://nitro.download/view/BCE2D8D12B1B4FD/subtitles-images-text.rar
https://nitro.download/view/CFA114B46873934/Textes_filmes_-_sous-titres_et_doublages_VF_des_films_du_film.rtf
https://nitro.download/view/D217C90225DC70E/Textes_filmes_-_sous-titres_et_doublages_VF_des_films_du_film.txt

Language(s):French
Subtitles: English + Spanish + Italian (SRT)

The post Guy Debord – The Society of the spectacle AKA La Société du spectacle (1973) first appeared on Cinema of the World.

Quote:
Guy Debord’s final film, In girum imus nocte et consumimur igni (1978) (a Latin palindrome meaning ‘We go round and round in the night and are consumed by fire’), is structured as a dual reflection on the misery of (then) contemporary cinema, and the memory of those revolutionary moments that might have led to another cinema. The central image of the film is the charge of the light brigade, from Michael Curtiz’s 1936 film of the name, which figures the adventure of the Situationists. This is not simply an image of heroic futility, but the image of the evanescent eruption of the Situationists into history. In his commentary Debord argues that the film is organized by two elemental themes: water, as the representation of the flowing time, and fire, as the representation of momentary brilliance, in which water always drowns out this ‘fire.’ While it would be quite possible to give this a quasi-mystical reading it is, in fact, deeply political.The flow of time, which exceeds and ruptures the imposed time of capitalist subsumption, or what Benjamin called ‘homogenous, empty time,’ is both revealed and disrupted by the momentary emergence of negation. This is momentary because, as the film’s soundtrack commentary announced: ‘Avant-gardes have only one time; and the best thing that can happen to them is to have enlivened their time without outliving it.’

https://nitro.download/view/3724982F8D76582/We_Spin_Around_the_Night_Consumed_by_the_Fire_(1978)_–_Guy_Debord.mkv

Language(s):French
Subtitles:English, Spanish, Portuguese (muxed)

The post Guy Debord – In girum imus nocte et consumimur igni AKA We Spin Around the Night Consumed by the Fire (1978) first appeared on Cinema of the World.