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Journals Film Quarterly Volume 62 Issue 4

TAlkinG PoinT ZACK WINESTINE HOWLS FOR GUY DEBORD On March 1, the Film Society of Lincoln Center screened a retrospective of Guy Debord’s films at New York’s Walter Reade Theater, the first time that most had been officially shown in this country. The films included Hurlements en faveur de Sade (Howls for Sade), Debord’s first feature. Hurlements consists exclusively of a blank white screen (while the voices of Debord and his Lettrist comrades intone an intentionally disjointed script) interspersed with a black screen (during which the soundtrack is silent). The film famously ends with twentyfour minutes of complete darkness and silence. In 1952 the film was a provocation. Its first Paris screening was shut down after twenty minutes, the second caused a furious audience to riot. (Debord and partner Michèle Bernstein were in the cinema balcony with bags of flour to dump on people below; Bernstein later recalled that they themselves probably left before the end, seeing no reason to stick around during the final period of black.) A London presentation several years later was nearly as raucous. Angry audience members leaving the first screening begged those waiting for a second showing to leave, creating an atmosphere so

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Howls for Guy Debord

Winestine, Zack
Film Quarterly , Volume 62 (4)
University of California Press – Jun 1, 2009

More Info
  • Publisher University of California Press
  • Copyright © 2009 by the Regents of the University of California.
  • Subject Departments; Talking Point
  • ISSN 0015-1386
  • eISSN 1533-8630
  • D.O.I. 10.1525/fq.2009.62.4.14
  • Publisher site Get PDF  

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