Critique de la séperation

Debord draws from a catalogue of newsreel footage and book covers, rephotographed photographs, views of Paris and its neighbourhoods, and offhand footage of him and his friends to question ‘the documentary.’ He makes tactical use of subtitles to investigate the receptions of the image and even of his own voice-over critique. He also expands the role of intertitles in an ironic vein (‘One of the greatest anti-films of all time!’).