In girum imus nocte and consumimur igni

In girum imus nocte and consumimur igni is a French film of Guy Debord left in 1978.

The film (95 mn) described the consumer society and capitalist alienation, endeavouring to highlight the condition of modern slaves. In addition to being one of films most off-hand with regard to the modern society, it incisively delivers the few stages of the life of the man who has, " in one year, statement subjects of fight for a siècle" , draws at the same time the picture afflicting with this company " in war against its clean possibilités" , and the autobiography where the regret does not have its place.

The aspect is austere (black and white, use of still images generally, narrative voice monocorde, white screens during several minutes).

The title of film is a meaning Latin Palindrome: “We turn in round in the night and we are devoured by fire”.

The film

• the first object of the author is his public , its conditions of existence, the social relations which rise from these conditions of existence and the reasons which make that this public is so slow to change them. The first image of film, after the credits, presents a public of cinema facing the screen. The author replaces his public in his social context: he reports his close relations which he maintains with the Marchandise, which it is in what he buys or in what he saw, but also in his life even, since he must sell his labor force under increasingly precarious conditions to satisfy the requirements of these goods. Themselves used by the capacity like simple road haulage operators, they are overworked servants of the vacuum, empty which them gratifie in currency with its effigy . An optimistic note, however, since by showing that the evil from which this public suffers is not so mysterious that he it believes, and that he is not perhaps even incurable for little that we arrived one day at the abolition of the classes and the State . The had aim is here to highlight the absurd conditions of existence latent and inherent in the current socio-economic organization and one cannot deny that this film has at least in this a merit .

• the second object will treat cinema as an image which is the one time result and of the false consciences which grew on this basis (:) what a respect of child for images! the criticism of a world of the sacrilized representation and exiled passions applies to the field of the cinema by the bitter derision of the inactive statute of the spectator which is satisfied images in place of acts, which should assume as a subordinate actor in place of . And, in fact, Debord can announce that it is able to make a film with anything destroying this kind of following proverb which a truth if it is not proven by images would have something of dogmatic . He notices that it would have been possible to make another thing of the cinema that which it became through his marchandisation, of this cinema which is a clever representation nothing to say, skilful to mislead one hour the trouble by the reflection of the same trouble .

• the third object is what the made author of the cinema: for my part, if I were so deplorable with the cinema, it is because I was more largely criminal elsewhere . It is a company which makes its cinema, because it could have been this film which passes in this moment. What amounts replacing the futile subjects which account the cinema by the examination of an important subject: myself . To the screen a scene passes where Zorro is in the presence of a dying man who asks him: but before dying, could I know which you are? and this Zorro to reveal its face with dying, which trespasses happy.

• the fourth object of film is Paris of the former years at 1968, Paris where people which had 10 times barricaded his streets and put in escape of the kings (...) did not treat to images. human Paris grouillant of social which was désertifié little by little to become finally a valley of desolation and it concludes, laconic, that Paris does not exist any more .

• the following object reports what this Paris allowed the author of meetings: a human group starts to base its real existence on the refusal deliberated on what is universally established and on the complete contempt of what will be able to occur of it, this Paris, this space where nothing is true and all is allowed . Then ravel a passage of its first film Hurlement in favor of Sade , a white screen on which various voices state sentences equipped with an immediate significance, ones drawn from the Penal code, others of works of classic authors. It then, says was the capital of the disturbance where one could spend his time in an extraordinary inactivity, which was felt like threatening . In this Paris each one drank more glasses than to lies a trade union during a whole wild Grève does not tell. It evokes the girls, the youth, of which most beautiful (...) dies in prison . It is in this important moment and this place that the question of the existence of the Prolétariat raised and of what it could be well. It is as in this part of film as we is given the solution of the title of film: we turn in round in the night and we are devoured by fire .

• the sixth object of this film will evoke the birth of the Internationale situationnist, after a procession of image presenting the lettrists and their comparses of Débauche: since there was around them nothing which was valid to be continued, it specifies that the only cause that we supported, we had it to define it and to support it ourself .

We are about with half of film.

Bonds

• Films somewhat pirated in line