Configurations of audiovisual asynchrony in the lettrist cinema of 1951/1952
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2019.144901Keywords:
cinematographic avant-garde, lettrism, audiovisual asynchronyAbstract
In the lettrist avant-garde, the cinema is taken as an object of realization and reflection through the films of Isou, Lemaître, Wolman, and Debord, between 1951-52. In this article, we examine the lettrist debates, especially the formulations about a discrepant cinematographic art, present in the ION magazine n.1 and in Lemaitre’s writings. Four films are debated, considering their relationship with audiovisual asynchrony. We suggest that such experiences include two trends: on the one hand, the centrality of vocal emissions surrounded by alien images and, on the other, the destruction of the screen and images, resuming the cinema/theater relations and the proposal of cinema as a form of action.
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Referências audiovisuais.
HURLEMENTS en faveur de Sade. Guy Debord, França, 1952.
L’ANTICONCEPT. Gil Wolman, França, 1952.
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