“GUY DEBORD MADE VERY LITTLE ART, but he made it extreme,” says Debord of himself in his final work, Guy Debord, son art et son temps (Guy Debord: His Art and His Time, 1995), an “anti-televisual” testament authored by Debord and realized by Brigitte Cornand. And there is no reason to doubt either aspect of this judgment. While Debord has been known in the English-speaking world since the 1970s as a key figure in the Situationist International and as a revolutionary theorist, it is only in the past decade that his work as a filmmaker has surfaced outside France. One reason is that, in 1984, following the assassination of Debord’s friend and patron Gérard Lebovici and the libelous treatment of both men in the French press, Debord withdrew his films from circulation. Though the films were not widely seen even in France, four of them—by the time they were withdrawn—had been playing continually and exclusively for the previous six months at the Studio Cujas in Paris, a theater financed for this purpose by Lebovici.
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