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Isou’s Treatise (1950) on Disjunctive Cinema Isou’s Treatise (1950) on Disjunctive Cinema
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The Cinematic Situation: Has the Film Begun? (1951) The Cinematic Situation: Has the Film Begun? (1951)
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Toward an Expanded Cinema Toward an Expanded Cinema
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2: Leaving The Movie Theater
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Published:February 2014
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Abstract
For decades, the canonical histories of postwar avant-garde cinema have begun with the “mythopoetic” and “visionary” ideas of Deren and Brakhage, in utter neglect of the radical Lettrist cinema by which Brakhage was himself inspired. This chapter explores the brief flowering of Lettrist cinema in Paris of the early ‘50s as establishing the aesthetic and theoretrical foundation of the Expanded Cinema and intermedia practices of the 1960s and ‘70s. Isidore-Isou’s Treatise on Slobber and Eternity (1951) inaugurates the movement with its conception of a radically disjunctive aesthetics, prefiguring both the sound/image mismatch of Jean-Luc Godard and the critical film essays of Chris Marker. Maurice Lemaître’s Has the Film Begun? (1952) extends this disjunctive conception to cinema’s theatrical situation, presenting an idea of synthetic cinema-performance which frustates the distinction between the local and cinematic space.
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