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Extra info for Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition)
At approximately forty-six minutes, after shots of the streets of Paris and a refilmed photograph of Isou reclining in an armchair, Traité To Salivate Is Not to Speak 43 returns to the scene of the found footage. One shot shows various officials on a boat. In the foreground, the two figures’ faces are barely visible given the large black V that has been chiseled on the filmstrip; each arm of the V extends across one of the figure’s faces. As another figure enters the shot on the lower right, he too is immediately covered with black marks.
Eight months later, however, the debates surrounding Isou’s film To Salivate Is Not to Speak 31 21. Isidore Isou, Traité de bave et d’éternité, 1951. Frame enlargements. Chapter One 32 RunningfootRecto 33 22. Isidore Isou, Traité de bave et d’éternité, 1951. Frame enlargements. again escalated. From January 25 to February 7, 1952, Traité de bave et d’éternité was officially released at the Studio de l’Etoile, the onetime home of Henri Langlois’s Cercle du Cinéma, the precursor to the Cinémathèque Française.
The Management” (fig. 15). This shot is followed by a black sequence during which we hear a Lettrist chorus, before cutting to the opening credits and a rolling dedication to filmmakers “who brought something new or personal to the art of cinema” (D. W. ). A short sequence introduces the covers of the various books penned by Isou, followed by the intertitle “Chapitre I: LE PRINCIPE” (Chapter 1: The To Salivate Is Not to Speak 23 16. Isidore Isou, Traité de bave et d’éternité, 1951. Frame enlargements.