Stewart Home b. 1962
Screams In Favour Of De Sade (2002)
Duration: 72 minutes
English language colour remake of Guy Debord's avant-garde classic from 1952. Like the original this film has no images, but whereas Debord's consisted of black with silence and white with dialogue in French, mine has black with silence and TV colour bars with dialogue in English. The original dialogue is translated and in a number of places also rewritten. However, while Debord had five voices reading his script, I have one voice with an additional spoken indication of which voice is speaking.
The periods of blackness and silence in Debord's film are strictly adhered to, with the final twenty four minutes being entirely black and silent. Although Debord never explained his original film in this way, I believe his intention was to transform cinema in theatre, turning the audience into actors rather than treating them as passive spectators. If this is the case, then it should matter little to viewers whether they watch Debord's original or my remake, what's important is what happens amongst the audience, not what is on screen (which in a classical gesture of avant-garde iconoclasm is essentially nothing).
RESOURCES:
Guy Debord, UbuWeb Film
Stewart Home on UbuWeb Sound
English language colour remake of Guy Debord's avant-garde classic from 1952. Like the original this film has no images, but whereas Debord's consisted of black with silence and white with dialogue in French, mine has black with silence and TV colour bars with dialogue in English. The original dialogue is translated and in a number of places also rewritten. However, while Debord had five voices reading his script, I have one voice with an additional spoken indication of which voice is speaking.
The periods of blackness and silence in Debord's film are strictly adhered to, with the final twenty four minutes being entirely black and silent. Although Debord never explained his original film in this way, I believe his intention was to transform cinema in theatre, turning the audience into actors rather than treating them as passive spectators. If this is the case, then it should matter little to viewers whether they watch Debord's original or my remake, what's important is what happens amongst the audience, not what is on screen (which in a classical gesture of avant-garde iconoclasm is essentially nothing).
For more info please see: Home's site.
RESOURCES:
Guy Debord, UbuWeb Film
Stewart Home on UbuWeb Sound