No Futures (Duras 72/77)

No Futures (Duras 72/77) martin crowley Money, even imaginary money, needs the future to give it force. Alasdair Gray, Lanark Nineteen seventy- seven was a very fi ne year. Particularly for fans of disillusionment and social fracture. In the United Kingdom, Queen Elizabeth II celebrated her silver jubilee to the sound track of the Sex Pistols’ “God Save the Queen”— or at least she would surely have done so, had the bbc and the Independent Broadcasting Authori- ty not denied the record access to the airwaves. On the day the Sex Pistols released their single (May 27), the 1977 Cannes Film Festival closed, at which Marguerite Duras’s fi lm Le camion had been entered (unsuccessfully) in the Feature Film competition. If “God Save the Queen” stared down its contemporaries with a kind of twisted swagger, knowingly summoning up the nightmare of a lumpenproletariat blessed with invincible intelligence, Le camion exudes an equally invincible exhaustion. According to Duras, the fi lm proposes a joyful embrace of the void that lies the other side of all projects— social, political, or cinematic. Despite their dramatic ton- al diff erences, the two works are in fact tied together by more than an apparent accident of timing— among http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qui Parle: Critical Humanities and Social Sciences University of Nebraska Press

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Publisher
University of Nebraska Press
ISSN
1938-8020

Abstract

martin crowley Money, even imaginary money, needs the future to give it force. Alasdair Gray, Lanark Nineteen seventy- seven was a very fi ne year. Particularly for fans of disillusionment and social fracture. In the United Kingdom, Queen Elizabeth II celebrated her silver jubilee to the sound track of the Sex Pistols’ “God Save the Queen”— or at least she would surely have done so, had the bbc and the Independent Broadcasting Authori- ty not denied the record access to the airwaves. On the day the Sex Pistols released their single (May 27), the 1977 Cannes Film Festival closed, at which Marguerite Duras’s fi lm Le camion had been entered (unsuccessfully) in the Feature Film competition. If “God Save the Queen” stared down its contemporaries with a kind of twisted swagger, knowingly summoning up the nightmare of a lumpenproletariat blessed with invincible intelligence, Le camion exudes an equally invincible exhaustion. According to Duras, the fi lm proposes a joyful embrace of the void that lies the other side of all projects— social, political, or cinematic. Despite their dramatic ton- al diff erences, the two works are in fact tied together by more than an apparent accident of timing— among

Journal

Qui Parle: Critical Humanities and Social SciencesUniversity of Nebraska Press

Published: Jun 2, 2016

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