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Categories: Film
Keywords: Cinema | Consumer Culture | Politics
Relevant passages:
Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century»
Thomas Levin «Dismantling the Spectacle: The cinema of Guy Debord »Ciné qua non«: Guy Debord and Filmic Practice as Theory» | 2
Works by Guy Debord:
Ich liebe meine Kamera, weil ich es liebe zu leben Society of spectacle
Guy Debord
«Howling for Sade»
As a film/situation «Howling for Sade» separates itself from any form of cinematic representation. Instead it demonstrates the cinematic equipment, the dispositive, and the process of cinematic performance and perception (in the form of negation). By combining fragments of texts on the soundtrack with the empty and partially-black film screen, a moment both abstract/self-reflective and extremely concrete is introduced into the dark space. The viewer is thrown back onto the actual context of the presentation, onto how its essence occurs in time perceived as real time, and finally onto oneself. Here abstraction suddenly changes to self-representation, and in place of representation reality itself comes forward.
ZKM Videosammlung
