By Kaira M. Cabañas
Off-Screen Cinema is the 1st monograph in English of the Lettrists. providing a whole portrait of the avant-garde scene of Nineteen Fifties Paris, it makes a speciality of the movie works of key Lettrist figures like Gil J Wolman, Maurice Lemaître, François Dufrêne, and particularly the movement's founder, Isidore Isou, a Romanian immigrant whose discrepant enhancing” intentionally uncoupled snapshot and sound. via Cabañas's background, we see not just the total scope of the Lettrist undertaking, but additionally its transparent impact on Situationism, the French New Wave, the hot Realists, in addition to American filmmakers comparable to Stan Brakhage.
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Extra resources for Off-screen cinema : Isidore Isou and the Lettrist avant-garde
With regard to the image track, scratches and paint streaks coexist with photographic reproductions. Each track reproduces sensory data (be it the profilmic visual or aural event), but works of Lettrist cinema further explore the materiality of the support, exploiting the tensions that ensue between the material and the referential, the literal and the symbolic, the abstract and the indexical. In so doing, they adopt elements from one medium (poetry, painting) to critique the illusionism and spectacular consolidation of another (sound-image relations in film).
Glamve ! pâhkre ! ” we hear spit accumulate in his mouth and how he modifies phonation by forcefully filtering letters between his teeth. ”16 That the film’s speech track indulged in the recording of slobber, a bodily fluid that interferes with “proper” pronunciation and speech, was picked up by one reviewer whose subtitle contended, “to salivate is not to speak (French)” (fig. 17 What the sound track of To Salivate Is Not to Speak 27 18. d. Lettrist poetry discloses, in no uncertain terms, is the bodily, organic basis of speech.
31). The sequence’s final shot takes us to a balcony lined with officials, including a Catholic priest. Isou’s marks mask the identity of the building and officials, but a French flag confirms the setting as occupied Vietnam (fig. 32). In the course of Traité’s second chapter Isou’s found footage increasingly transitions toward a broader ceremonial context of colonization and war, thereby calling attention to the performative dimensions of profilmic reality. It was in fact Maurice Lemaître who applied most of the streaks (rayures) and undertook the scraping (grattage) of images.