Marxist film theory is an approach to film theory centered on concepts that make possible a political understanding of the medium.
The Situationist International (SI) was an international organization of social revolutionaries made up of avant-garde artists, intellectuals, and political theorists. It was prominent in Europe from its formation in 1957 to its dissolution in 1972. The intellectual foundations of the Situationist International were derived primarily from libertarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism. Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism.
Guy-Ernest Debord was a French Marxist theorist, philosopher, filmmaker, critic of work, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International. He was also briefly a member of Socialisme ou Barbarie.
The Letterist International (LI) was a Paris-based collective of radical artists and cultural theorists between 1952 and 1957. It was created by Guy Debord and Gil J. Wolman rejoined by Jean-Louis Brau and Serge Berna as a schism from Isidore Isou's Lettrist group. The group went on to join others in forming the Situationist International, taking some key techniques and ideas with it.
Psychogeography is the exploration of urban environments that emphasizes interpersonal connections to places and arbitrary routes. It was developed by members of the Letterist International and Situationist International, which were revolutionary groups influenced by Marxist and anarchist theory as well as the attitudes and methods of Dadaists and Surrealists. In 1955, Guy Debord defined psychogeography as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals." One of the key tactics for exploring psychogeography is the loosely defined urban walking practice known as the dérive. As a practice and theory, psychogeography has influenced a broad set of cultural actors, including artists, activists and academics.
Raoul Vaneigem is a Belgian writer known for his 1967 book The Revolution of Everyday Life.
Kenneth Charles Marion Rexroth (1905–1982) was an American poet, translator, and critical essayist. He is regarded as a central figure in the San Francisco Renaissance, and paved the groundwork for the movement. Although he did not consider himself to be a Beat poet, and disliked the association, he was dubbed the "Father of the Beats" by Time magazine. Largely self-educated, Rexroth learned several languages and translated poems from Chinese, French, Spanish, and Japanese.
The dérive is an unplanned journey through a landscape, usually urban, in which participants drop their everyday relations and "let themselves be drawn by the attractions of the terrain and the encounters they find there". Developed by members of the Letterist International, it was first publicly theorized in Guy Debord's "Theory of the Dérive" (1956). Debord defines the dérive as "a mode of experimental behaviour linked to the conditions of urban society: a technique of rapid passage through varied ambiances."
The Society of the Spectacle is a 1967 work of philosophy and Marxist critical theory by Guy Debord, in which the author develops and presents the concept of the Spectacle. The book is considered a seminal text for the Situationist movement. Debord published a follow-up book Comments on the Society of the Spectacle in 1988.
Anti-art is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the Dada movement and is generally accepted as attributable to Marcel Duchamp pre-World War I around 1914, when he began to use found objects as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold.
La Société du Spectacle is a black-and-white 1974 film by the Situationist Guy Debord, based on his 1967 book of the same name. It was Debord's first feature-length film. It uses found footage and détournement in a radical Marxist critique of mass marketing and its role in the alienation of modern society.
The Pursuit of the Millennium: Revolutionary Millenarians and Mystical Anarchists of the Middle Ages is Norman Cohn's study of millenarian cult movements.
Gérard Lebovici was a French film producer, editor and impresario.
The spectacle is a central notion in the Situationist theory, developed by Guy Debord in his 1967 book The Society of the Spectacle. In the general sense, the spectacle refers to "the autocratic reign of the market economy which had acceded to an irresponsible sovereignty, and the totality of new techniques of government which accompanied this reign." It also exists in a more limited sense, where spectacle means the mass media, which are "its most glaring superficial manifestation." Debord said that the society of the spectacle came to existence in the late 1920s.
Mémoires (Memories) is an artist's book made by the French social critic Guy Debord in collaboration with the Danish artist Asger Jorn. Its last page mentions that it was printed in 1959, however, it was printed in December 1958. This publication is the second of two collaborative books by Jorn and Debord whilst they were both members of the Situationist International.
Situationist prank is a term used in the mass media to label a distinctive tactic by the Situationist International, consisting of setting up a subversive political prank, hoax or stunt; In the terminology of the Situationist International, stunts and media pranks are very similar to situations. The détournement technique, that is "turning expressions of the capitalist system against itself," was the essential element of a situationist prank. The Situationist tactic of using détournement for subversive pranks is such a distinctive and influential aspect of the Situationist International, that they are sometimes labeled as a group of political pranksters.
Report on the Construction of Situations is the founding Manifesto of the Situationist International revolutionary organization. The pamphlet was published by Guy Debord in June 1957, and the following month the organization was founded in Cosio d'Arroscia, Italy.
Socialisme ou Barbarie was a French-based radical libertarian socialist group of the post-World War II period whose name comes from a phrase which was misattributed to Friedrich Engels by Rosa Luxemburg in the Junius Pamphlet, but which probably was most likely first used by Karl Kautsky. It existed from 1948 until 1967. The animating personality was Cornelius Castoriadis, also known as Pierre Chaulieu or Paul Cardan. Socialisme ou Barbarie is also the name of the group's journal.
The Situationist International's interpretation of the Paris Commune of 1871 was influenced by their collaboration with Henri Lefebvre with whom they had been in contact since the late 1950s. Lefebvre’s writings on revolutionary romanticism and everyday life were important influences on the early SI. In the early 1960s Guy Debord, Attila Kotányi and Raoul Vaneigem agreed to assist Lefebvre in his preparations for a book on the Commune. The results of their brainstorming sessions were written down in 1962 by the SI in their “Theses on the Paris Commune.” After Lefebvre published his respective notes on their collaboration, in a 1962 piece entitled “La Signification de la Commune,” the two parties had a falling out as the SI ostensibly disagreed with the journal in which he published. Both the SI and Lefebvre published extensively on the feud in the following decade.
Mustapha Khayati is a Tunisian social critic.
