Index

1. INTRODUCTION 

2. RESEARCH OBJETIVES AND METHODS 
2.1 Object of study
2.2 Theoretical and methodological framework
2.3 Analysis model
2.4 Observation of everyday life as a pretext
2.5 Disparity and need of liberation
2.6 Unity and ecstasy

3. EVERYDAY LIFE
3.1 Life and existence
3.2 Desire and time
3.3 Singularity and uniqueness
3.4 Copy and simulation
3.5 Stars and adventures
3.6 Monologue and inaction


4. DISPARITY
4.1 Money
4.2 Merchandises
4.3 Ideologies
4.4 Exchanges
4.5 Representations
4.6 Spectacles


5. UNITY
5.1 Attempt and reflux
5.2 Irremediable inversion
5.3 Encounter with the unknown
5.4 Spirit and matter
5.5 Theory and practice
5.6 Content and form


6. UNITARY STYLE
6.1 Subtraction and non abundance
6.2 Concentration and non dispersion
6.3 Equalization and non emphasizing
6.4 Abstraction and non figuration
6.5 Contention and non exteriorization
6.6 Participation and non contemplation


7. BEYOND CINEMA SPECTACLE
7.1 Life, environment and unification
7.2 Subjectivity, objectivity and unity
7.3 From the unitary cinematographic experience to the unitary film
7.4 Circularity
7.5 The unitary film
7.6 Birth of a new phenomenology


8. CINEMATOGRAPHIC SITUATION
8.1 Everyday
8.2 Separation
8.3 Unity
8.4 Style
8.5 Between everyday and cinematographic
8.6 From the new phenomenology to the new dichotomy






9. INTRODUCTION TO PART II


10. GUY DEBORD
10.1 Guy Debord's Biography (1931-1994)
10.2 Guy Debord's Filmography (1952-1978)
10.3 Description of Debord's films
10.4 In-depth description of La Société du spectacle (1973)
10.5 Beyond films
10.6 Cinema according to Debord and the lettrists
10.7 Art according to Debord and the lettrists
10.8 Lettrist films
10.9 The end of art in situationists
10.10 The détournament
10.11 The end of art and cinema in Debord's films
10.12 Situationist films
10.13 From the critic of art and cinema to the critic of spectacle
10.14 Debord's cinematographic-researching path


11. ROBERT BRESSON
11.1 Robert Bresson's Biography (1901-1999)
11.2 Robert Bresson Filmography (1943 / 83)
11.3 Description of Bresson's films
11.4 In-depth description of Lancelot du Lac (1974)
11.5 Beyond films
11.6 Bresson Antisystem
11.7 The end of art in Bresson
11.8 Isolation from existing arts
11.9 The end of cinema in Bresson
11.10 The question
11.11 The filters
11.12 The transformation
11.13 Bresson's cinematographic-researching path
11.14 Historiography of the cinematographer
11.15 Influence on emerging cinematographies
11.16 Bresson and european cinematographic modernity
11.17 The 'Bresson model' and cinematographic modernity in the United States


12. DEBORD AND BRESSON

13. CINÉMA 68
12.1 Cinematographic Theory (french)
12.2 Cinematographic Praxis (of the sixties)
12.3 French modern and contemporary cinematography
12.4 Paris 1968
12.5 Social 'Mai 68'
12.6 Cinematographic 'Mai 68'
12.7 Direct chronicles
12.8 Militant collectives
12.9 Author fictions
12.10 Avant-garde manifestos
12.11 Cinematographic situations
12.12 Constellations 68
12.13 Table 1: Compilation of Cinéma 68 cinematographic phenomena
12.14 Table 2: Correlation of films - cinematographic situation
12.15 Graphic 1: Constellations 68 and eclosion of the cinematographic situations




 
14. CONCLUSIONS


15. LIST OF NOTES


16. BIBLIOGRAPHY