Guy Debord

Guy Debord

Nascimento : 1931-12-28, Paris, France

Morte : 1994-11-30

História

Guy Ernest Debord (December 28, 1931 - November 30, 1994) was a French Marxist theorist, writer, filmmaker, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International (SI). He was also briefly a member of Socialisme ou Barbarie.

Perfil

Guy Debord
Guy Debord

Filmes

The Last Days of Mankind
Self (archive footage)
The panorama of human affairs encounters the “man with a movie camera”. His playground has no boundaries, his curiosity no limits. Characters, situations and places pitch camp in the life of a humanity that is at once the viewer and the thing viewed. But what are the last days of this humanity? Have they already passed? Are they now or still to come?
Lebo, l'ombre et la lumière
Guy Debord, son art et son temps
Writer
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).
We Spin Around the Night Consumed by the Fire
Director
A Latin palindrome is the title of Guy Debord's last film, in which he, as narrator, explains that he will make neither concessions to the tastes of his viewers nor to the dominant ideas of his day. After extensively insulting the audience that goes to the cinema to forget its heteronomous life, the film becomes autobiographical, using images from the world of spectacle: advertising brochures, clips from feature films (Les enfants du paradis), comics, aerial footage of Paris, tracking shots through Venice, photographs of friends – all commented on by Debord, with an at times melancholy undertone: "This Paris no longer exists." His assessment is that one of the great pleasures of his life has been the sensation of the passage of time, and as a witness to the disintegration of social order, he has loved his epoch.
We Spin Around the Night Consumed by the Fire
Writer
A Latin palindrome is the title of Guy Debord's last film, in which he, as narrator, explains that he will make neither concessions to the tastes of his viewers nor to the dominant ideas of his day. After extensively insulting the audience that goes to the cinema to forget its heteronomous life, the film becomes autobiographical, using images from the world of spectacle: advertising brochures, clips from feature films (Les enfants du paradis), comics, aerial footage of Paris, tracking shots through Venice, photographs of friends – all commented on by Debord, with an at times melancholy undertone: "This Paris no longer exists." His assessment is that one of the great pleasures of his life has been the sensation of the passage of time, and as a witness to the disintegration of social order, he has loved his epoch.
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film
Editor
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle"
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film
Narrator
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle"
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film
Writer
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle"
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film
Director
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle"
The Society of the Spectacle
Narrator (voice)
Guy Debord's analysis of a consumer society.
The Society of the Spectacle
Screenplay
Guy Debord's analysis of a consumer society.
The Society of the Spectacle
Director
Guy Debord's analysis of a consumer society.
The Society of the Spectacle
Novel
Guy Debord's analysis of a consumer society.
Critique of Separation
Debord’s eighteen-minute Critique of Separation directs its experimental attentions to “the documentary.” Debord draws from a catalogue of newsreel footage and book covers, rephotographed photographs, views of Paris and its neighborhoods, and a catalogue of disabused, seemingly offhand footage of him and his friends in the porous zone comprising the cafe and the street.
Critique of Separation
Director
Debord’s eighteen-minute Critique of Separation directs its experimental attentions to “the documentary.” Debord draws from a catalogue of newsreel footage and book covers, rephotographed photographs, views of Paris and its neighborhoods, and a catalogue of disabused, seemingly offhand footage of him and his friends in the porous zone comprising the cafe and the street.
On the Passage of a Few People through a Relatively Short Period of Time
Writer
This short film can be considered as notes on the origins of the situationist movement; notes which thus naturally include a reflection on their own language.
On the Passage of a Few People through a Relatively Short Period of Time
Director
This short film can be considered as notes on the origins of the situationist movement; notes which thus naturally include a reflection on their own language.
Howlings in Favour of De Sade
Debord directed his first film, "Hurlements en faveur de Sade" in 1952 with the voices of Michele Bernstein and Gil Holman. The film has no actual images; instead, it shows bright white when there is speaking and black when there is not. Long silences separate speaking parts. The film ends with 24 minutes of black silence.
Howlings in Favour of De Sade
Director
Debord directed his first film, "Hurlements en faveur de Sade" in 1952 with the voices of Michele Bernstein and Gil Holman. The film has no actual images; instead, it shows bright white when there is speaking and black when there is not. Long silences separate speaking parts. The film ends with 24 minutes of black silence.