{"node_view":"\u003Carticle class=\u0022node\u0022\u003E\n  \u003Ch1 class=\u0022node-title\u0022\u003EVenom and Eternity\u003C\/h1\u003E\n\n  \n\n          \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EDevaux Fr\u00e9d\u00e9rique \u2013 \u003Cem\u003ELe Cin\u00e9ma lettriste\u003C\/em\u003E (1951-1991) \u003Cbr \/\u003E\u003Cbr \/\u003E1992, Fr\u00e9d\u00e9rique Devaux \u003Cbr \/\u003E\u003Cbr \/\u003EEditions Paris exp\u00e9rimental, Paris, 1992, 320 p.\u003Cbr \/\u003E\u003Cbr \/\u003EChapter 4 \u003Cbr \/\u003E\u003Cbr \/\u003ETHE CAREER OF THE TREATY IN 1951-1952  \u003Cbr \/\u003E\u003Cbr \/\u003EI) The Cannes Film Festival. \u003Cbr \/\u003E\u003Cbr \/\u003E(\u2026) p.55 \u003Cbr \/\u003E\u003Cbr \/\u003EIsou has not finish \u003Cem\u003EVenom and Identity\u003C\/em\u003E. However, he decided to have his work known and present it as is, that is to say as a \u0022\u003Cem\u003Ework in progress\u003C\/em\u003E.\u0022 For him, an unfinished work by James Joyce is, in any case, more important than a finished production by so-and-so. He will write after the screening of his film \u0022I thought the festival could receive the smile of the unprecedented disruption. I always thought that a new manifesto is worth more than a perfect artwork because the manifesto shows how future works are created, and the perfect artworks end with themselves.\u0022 (\u003Cem\u003ECombat\u003C\/em\u003E, April 26, 1951). Actually, the avant-garde, according to Isou, never stops creating. \u003Cbr \/\u003E\u003Cbr \/\u003E(\u2026) p. 57: unrest in the room \u003Cbr \/\u003E\u003Cbr \/\u003EEverything gets complicated as early as chapter two. Stirs shake the more and more excited and annoyed public. Is this a joke, a prank? The room is now plunged into full darkness, there are no longer any images on the screen, - Isou having only had time to finish the editing of the first part -: we only hear the voices in the speakers. \u003Cbr \/\u003E\u003Cbr \/\u003EThe scandal bursts. In the room just lit, a specialist of cinema for children (Sonica Bo) slaps Isou. Although strongly supported by his comrades, the author cannot explain himself because the anger of the spectators (among whom was Ren\u00e9 Cl\u00e9ment) is too strong. Cocteau does not dare say anything, although Isou believes for a moment that the creator of \u003Cem\u003EOrpheus\u003C\/em\u003E is going to support him. Crestfallen, the artist accepts temporarily this failure and waits until April 26 to answer in Combat to this public affront 1. \u003Cbr \/\u003E\u003Cbr \/\u003E(\u2026) p. 57: opinion of Cocteau \u003Cbr \/\u003E\u003Cbr \/\u003EIsou pretends, if I am not mistaken, to make a clean sweep. That sweep should be strong enough to clear the premises (\u2026) Isou calls people imbeciles because they do not see what he is not showing. He could only call them imbeciles if they were not seeing what he shows them. (Was it film that had been wrecked on purpose?) 2. \u003Cbr \/\u003E\u003Cbr \/\u003E (\u2026) p.58: The award \u003Cbr \/\u003E\u003Cbr \/\u003EAwaiting for minds to cool down, \u003Cem\u003EVenom\u003C\/em\u003E received the \u003Cem\u003EPrix des Spectateurs d\u0027avant-garde 1951\u003C\/em\u003E (\u003Cem\u003EAward of the Avant-Garde Spectators 1951\u003C\/em\u003E) and another \u003Cem\u003EAward on the fringe of the Cannes Film Festival\u003C\/em\u003E given by Cocteau, Malaparte and their jury accomplices. \u003Cbr \/\u003E\u003Cbr \/\u003E(\u2026) p.58 : on the unrest in the room \u003Cbr \/\u003E\u003Cbr \/\u003EThe event nourishes cutting pens relating the facts one after the other, most often amplifying them. According to \u003Cem\u003ENice-Matin\u003C\/em\u003E who never forgets the \u0022Pope of Lettrism\u0022: \u0022Jean Cocteau, Malaparte and many personalities were present (\u003Cem\u003Eon the morning of April 20, F.D.\u003C\/em\u003E) and we immediately realized that this gang was a big joke and that its author had really been a master in \u0022hoaxes\u0022 and by having so many people come and leading such a scandal in the last few days around this work of art that was, supposedly to revolutionize cinematographic art. After a few images of Saint-Germain-des-Pr\u00e9s where we can see our lettrists walk around and affirm that they are the new Gods of literature and of all the arts, the screen remains white, the camera\u0027s lamp switches off and as Isou says, the door opens, that is to say that no more images are presented to the viewers, while the ears are deafened by a concert of clamors, shouts and speeches. Incidents marked the end of these 5 200 meters of film and Miss Sonica Bo even gave, so it is said, a couple of slaps in the face of Isidore Isou. The literary personalities present seemed a bit uncomfortable and only Malaparte remained impassive, not seeming to know very well what to do.\u0022 3.  \u003Cbr \/\u003E\u003Cbr \/\u003E(\u2026) p.64 : Article by Rohmer \u003Cbr \/\u003E\u003Cbr \/\u003ELes \u003Cem\u003ECahiers du cin\u00e9ma\u003C\/em\u003E, who are going to celebrate their first anniversary in April 1952, are interested, among other things in the n\u00b0 10 (March 1952) in research, in cinema. In a file entitled \u003Cem\u003EOpinions sur l\u0027avant-garde\u003C\/em\u003E (\u003Cem\u003EOpinion on Avant-Garde\u003C\/em\u003E) 4, Maurice Sch\u00e9rer (alias Eric Rohmer, presenter, at the time, at the Cin\u00e9-Club of the Latin quarter of Fran\u00e7ois Fr\u0153schel) devoted a long article to \u003Cem\u003EIsou ou les choses telles qu\u0027elles\u003C\/em\u003E \u003Cem\u003Esont (Isou, Or Things as They Are)\u003C\/em\u003E. May praise be given to the one holding the pen. It is the first time that a critic passes the stage of scratching to open to analysis \u2013 even with a small scalpel. In this text \u0022between escape and reason,\u0022 fairly abundantly illustrated, it seems obvious that Maurice Sch\u00e9rer-Rohmer knows quite well what and those about whom he talks to dare a few objections and thoughts: he conceives right away the lettrist group as a \u0022literary movement\u0022 having \u0022the pretentiousness to place itself (\u2026) on the \u0027left\u0027 of surrealism;\u0022 the latter thus deserves \u0022consideration\u0022 despite its \u0022defeatism.\u0022 Between the lines of Isou\u0027s writings and appearances, Rohmer believes he perceives in the artist the \u0022ambition (\u2026) to carve, in a final burst, a place, be it modest, on the last page of literature textbooks.\u0022 \u003Cbr \/\u003E\u003Cbr \/\u003EIn Sch\u00e9rer then the moral character \u2013 will we dare say \u0022moralizing\u0022 and the aesthete are opposing: the author is both attracted to and revolted by those who, a few years before, held \u0022stormy\u0022 conferences in the Salle de G\u00e9ographie and to those of the Soci\u00e9t\u00e9s Savantes 5 ; this group, this lettrist gang, reminds him of a \u0022Fascist shock group\u0022 but nonetheless seduces the aesthete, the art appreciator wondering about the avant-gardists. \u0022This idea of a probable death of Art, no matter how much modesty one may have to express it, is however, far from being foreign to a number of musicians or painters, - they only need to be forced to the wall to discover that it is used as a substrate to non-figurative or atonality theories\u2026\u0022 (Paul Klee seems like a good example to him) ; \u0022at the stage where our poetry is, I do not consider the reading \u2013 or hearing- of his works of art (\u003Cem\u003EIsou\u0027s, F.D.\u003C\/em\u003E) as a more unpleasant chore than those of many contemporary anthologies,\u0022 so he writes after having declared a few lines before that \u0022it is not the few poems published or recited by the lettrists that provide (\u2026) a denial\u0022 to the idea that \u0022to dare destroy, one must know how to build in a positive manner.\u0022 The \u0022scandalous publicity\u0022 bothers him all the more so as \u0022no one (\u2026) shall deny that our lettrism be a pure idea of the mind born out of a perfectly arbitrary induction .\u0022 6. \u003Cbr \/\u003E\u003Cbr \/\u003ESch\u00e9rer-Rohmer is grateful to Isou and his group for \u0022soothing him out of this anarcho-moralizing tone in which our friends take much delight;\u0022 he actually perceives in \u003Cem\u003EVenom\u003C\/em\u003E \u0022a total departure from this anti-bourgeois and negating mind that was that of all our literature between the wars, from Breton to Artaud even Drieu la Rochelle or Montherlant.\u0022 \u003Cbr \/\u003E\u003Cbr \/\u003EDespite it all, the journalist declares the director\u0027s reflection \u0022fairly conservative.\u0022 \u0022One feels implicitly, in this film beyond the provocative variety of the tone, the respectful desire to request things \u003Cem\u003Eas they are\u003C\/em\u003E, as a worry that everything having been destroyed or questioned nothing would remain in art that made its substance. Who make the resolution to knock down everything that may support others, one can conceive that there are no worries more pressing than discovering in turn what he may hold onto. And here is our revolutionary, thrown by the very authority of his intention, into a fairly conservative reflection. Maybe the author was betrayed by the strange instrument he has just carelessly chosen to polish the scaffolding of his theories.\u0022 \u003Cbr \/\u003E\u003Cbr \/\u003ERohmer is, at the time, the only one who understood that Isou\u0027s process has nothing to do with that of a \u003Cem\u003EFischinger\u003C\/em\u003E, a McLaren, a Bu\u00f1uel or an Anger and even less with that of the \u0022literary cinema\u0022 for which Cocteau would be a illustration. \u003Cbr \/\u003E\u003Cbr \/\u003EThe journalist shows a perspicacity honoring him, all the more so as he is the first to then understand the finality of Isou\u0027s work despite some reluctance: \u0022Isou (\u2026) shows a certain cinematographic sensibility and (\u2026) contrary to the avant-gardist of 1930 who were trying to turn the film into the practice field of their pictorial, musical or literary theories, the problems he intends to solve are of a specifically cinematographic nature.\u0022   \u003Cbr \/\u003E\u003Cbr \/\u003ESch\u00e9rer-Rohmer does certainly not share Isou\u0027s \u0022radical pessimism\u0022 when he formulates the end of the \u0022amplic\u0022 phase and the birth of the \u0022chiseling\u0022 period, but he agrees with the idea that the technical discoveries ( mise-en-sc\u00e8ne techniques, he specifies) are not what will be of much help to make cinema evolve; he confesses that \u0022there is not one gesture of the human being, one expression of the face that we could not discover in the archives of our art photographed numerous times.\u0022 Furthermore, it is not \u0022in the art (\u2026) of photographing that some innovations, as Isou very rightly says, could be made.\u0022 \u003Cbr \/\u003E\u003Cbr \/\u003EFinally, the aesthetician was seduced by the fact that Isou, according to him, opposes \u0022to the emphasis of his text indifferent images,\u0022 well chosen, \u0022awkward shots\u0022 from where springs \u0022the feeling of a presence, presence of the actors, that no one deigns show us at any time, or evoke them, the presence of a thought behind this face of the author, no doubt complacently spread, but under its most modestly inexpressive appearance.\u0022\u003Cbr \/\u003E\u003Cbr \/\u003EThe conclusion obviously falls under the form of a confession: \u0022Finally, I believe it is my duty to say that this first chapter where we are shown Isou strolling on the Boulevard Saint-Germain \u0027caught\u0027 me a thousand times more than the best of the non commercial films I was ever given to see.\u0022 \u003Cbr \/\u003E\u003Cbr \/\u003EThis text sums up out loud what other think quietly: it is indeed Isou\u0027s personality that bothers, the provocative way of the young \u0022externals\u0022 around him that bother, despite the non negligible originality of their works and their ideas. This critic, overcoming his bad mood, was the first to try to replace the Isoutian process based on the research coming from other avant-garde or contemporary research movements. \u003Cbr \/\u003E\u003Cbr \/\u003E*** \u003Cbr \/\u003E\u003Cbr \/\u003EApart form a review published in the n\u00b04 of the magazine \u003Cem\u003ECin\u00e9ma 52\u003C\/em\u003E 7, the text by Rohmer puts to rest the controversy that has been surrounding Venom for a year.  In France, the curtain comes down, for a long time, on this piece. 8.\u003Cbr \/\u003E\u003Cbr \/\u003E1 - \u003Cem\u003ERectification \u00e0 propos d\u0027un film\u003C\/em\u003E by Jean-Isidore Isou in \u003Cem\u003ECombat\u003C\/em\u003E of April 26, 1951. Isou has a hard time surpassing his deception by clearly explaining his contribution in the art of film. \u003Cbr \/\u003E\u003Cbr \/\u003E2 \u2013 Under the title \u003Cem\u003EAffaire isou\u003C\/em\u003E (\u003Cem\u003EApril 1951, \u003C\/em\u003Eon the fringe of the Cannes festival). This letter is reproduced in \u003Cem\u003EEntretiens sur le cin\u00e9matographe\u003C\/em\u003E, Jean Cocteau, Ed. Belfond, 1973, pp. 89-90. \u003Cbr \/\u003E\u003Cbr \/\u003E3 - \u003Cem\u003ENice-Matin\u003C\/em\u003E, Saturday April 21, 1951.\u003Cbr \/\u003E\u003Cbr \/\u003E4 - \u003Cem\u003ECahiers du cin\u00e9ma\u003C\/em\u003E, n\u00b010, March 1952.\u003Cbr \/\u003E\u003Cbr \/\u003E5 - Rohmer refers to a group of lettrist events from 1946, where this group attempted at making itself known, with strength and conviction, its ideas and more specifically its poetry. The authors did not spare scandals of any kind, among which, Michel Leiris was the victim of such interventions, in the room of the Vieux Colombier in 1946.\u003Cbr \/\u003E\u003Cbr \/\u003E6 \u2013 All the quotes are contained in pages 27 to 32 of the \u003Cem\u003ECahiers du cin\u00e9ma, op. cit.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003C\/em\u003E7 - \u003Cem\u003ECin\u00e9ma 52\u003C\/em\u003E n\u00b04, April 1952. A so-called Dr. Philm simply recalls Isou\u0027s aesthetic intentions.\u003Cbr \/\u003E\u003Cbr \/\u003E8 \u2013 While in the United States a copy has been circulating for many years, in France, one will have to wait until the threshold of the 80s for the work to be regularly re-released on the screen and some lines are written about it. As early as 1952, Frank Stauffacher presents \u003Cem\u003EVenom\u003C\/em\u003E at the San Francisco Museum of Art in its yearly screenings of experimental cinema. \u0022 Art in Cinema.\u0022 Stan Brakhage, who remembers this screening, talks about \u003Cem\u003EVenom\u003C\/em\u003E as \u0022one of the most powerful films I have ever seen. (\u2026) Isou tips the images over, arbitrarily scrapes them and does the best he can imagine to destroy the filmic image.\u0022 Speaking about another film (\u003Cem\u003EThe End\u003C\/em\u003E by Christopher MacLaine) and about Isou\u0027s \u003Cem\u003EVenom\u003C\/em\u003E, Brakhage writes that the two works are \u0022like two pillars of a same gate which any cinema-artist must pass some day.\u0022 (\u003Cem\u003EFilm at Wit\u0027s End\u003C\/em\u003E, Edimbourg, Polygon, 1989, p. 115). Thank you to Christian Lebrat for providing me with this information.\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EFr\u00e9d\u00e9rique Devaux\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n              \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item odd \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E1951, Cannes Festival: Isou and the lettrists - Marc\u0027O, Gil Wolman, Jean-Louis Brau, Maurice Lemaitre and Fran\u00e7ois Dufr\u00eane land on the Croisette with the firm intention to have the first lettrist film screened: \u003Cem\u003EVenom and Eternity\u003C\/em\u003E, directed by Isou. \u003Cbr \/\u003E\u003Cbr \/\u003EWith this film, Isou invents two concepts; \u0022the discrepant editing\u0022 with the principal of treating separately sounds and image so there is no longer any significant connection, and \u0022chiseling\u0022 consisting in intervening on the image by scraping or painting directly on the film. The sound column contains improvisations by lettrist chorus, the tale of a love story and a manifest for a new cinema. The visual column consists in images of Isou walking along the boulevard Saint-Germain, fragments of military films, a Communist Party sports meeting, black and white screens. \u003Cbr \/\u003E\u003Cbr \/\u003EAfter several strong-armed attempts, \u003Cem\u003EVenom\u003C\/em\u003E is finally shown on the fringe of the festival and for free at the cinema Le Vox on April 20. \u003Cbr \/\u003E\u003Cbr \/\u003EIn the room, Guy Debord then a high school student, attends the screening that will be interrupted before the end because of the audience\u0027s indignation. The film has not been completed than, only the images of the first part and edited and the continuation is only acoustic. Immediately seduced by the subversive characteristic of the film and the screening, he goes meet the lettrists. Understanding is immediate and he decides to join them in Paris. Before leaving Cannes he however passes his baccalaureate.\u003C\/article\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n    \u003Csection class=\u0022field field-name-field-concepteur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ECreator\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EIsidore Isou\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-executant field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPerformer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EIsidore Isou\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-organisateur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EProducer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EIsidore Isou\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-effectuation\u0022\u003E\n  \u003Ch1 class=\u0022effectuation-title\u0022\u003E\u003C\/h1\u003E\n\n  \n    \u003Csection class=\u0022field field-name-field-topologie field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETopology\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ECannes film festival\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-lieu field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPlaces\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ECin\u00e9ma Le Vox\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-date-de-debut field-type-text field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EStarting date\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E04 20 1951\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-organisateur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EProducer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EMarc\u0027O\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-address field-type-addressfield field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EAdress\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cdiv class=\u0022addressfield-container-inline locality-block country-\u0022\u003E\u003Cspan class=\u0022locality\u0022\u003ECannes\u003C\/span\u003E\u003C\/div\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-contexte field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EBackground\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Eon the fringe of the IVth Cannes International Film Festival\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\u003C\/article\u003E  \n          \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EExtract of the transcript of an interview between Jean Daive and Marc Guillaumin, aka. Marc\u0027O, aired on \u003Cem\u003EFrance culture\u003C\/em\u003E (\u003Cem\u003ENuits\u003C\/em\u003E \u003Cem\u003Emagn\u00e9tiques\u003C\/em\u003E), in the scope of the series of shown produced by Jean Daive : \u0022l\u0027Internationale Situationiste,\u0022 in May 1996, published in Debord Guy, \u00e9d. \u003Cem\u003ECentre international de po\u00e9sie Marseille\u003C\/em\u003E, March 2006, 39 pages. \u003Cbr \/\u003E\u003Cbr \/\u003E J.D. : So, how did he react to the screening of the film by Isidore Isou : \u003Cem\u003EVenom and Eternity\u003C\/em\u003E ? \u003Cbr \/\u003E\u003Cbr \/\u003EM. : Well, he was, he was\u2026 I mean. What to say? He immediately supported. There were very few people supporting back then, but he immediately supported, but him, he immediately supported.  He was, he was there. That is to say he joined the lettrist movement is a way. Like that: supported the movement there was at the time. Well, it was the movement\u2026 Me, I never belonged to the lettrist movement, except that I was with them. Well, in the way that I did not do a lot: I was preoccupied with something else. But to the ideas. It was a certain type of ideas that were there, that united a certain number of people, who are in the review [it is the review \u003Cem\u003EIon\u003C\/em\u003E, Ed.]. And so he supported the ideas of this group. How can I say it? It is not even to the ideas, because these ideas were to be made, but to the project this group had. To this vision of the society that this group\u2026 \u003Cbr \/\u003E\u003Cbr \/\u003EJD.: And this project, briefly, how did he sum it up?  \u003Cbr \/\u003E\u003Cbr \/\u003EM.: Ah! But he wouldn\u0027t sum it up like that. He wanted to do that. You know, when you are \u2013 he was eighteen, what, nineteen years old \u2013 when you are eighteen or nineteen years old, you think, it\u0027s a life choice, right. His father was a notary I think. So he really wanted him to have a career and he, well, he had already well decided, probably had for a while, since the age of fourteen-fifteen \u2013 that he would do literature, politics. Well, in this type of world, there. He was not going to wedge into a career such as, at the time\u2026 J\u003Cbr \/\u003E\u003Cbr \/\u003ED.: How did you read this text: \u003Cem\u003EHowls for Sade\u003C\/em\u003E? \u003Cbr \/\u003E\u003Cbr \/\u003EM.: You mean\u2026 if I liked it? Yes... I thought it was very good. I said yes yes, this, very well: we are going to publish it. We are going to be\u2026 I saw him write it I mean: he was there. We would see each other every day, then he came to join in Paris, and well, so\u2026 We would talk and talk. As for me, I wrote the last text, there. I forgot what\u0027s called \u2013 you know, you are talking about things that are almost forty-five years old \u2013 that\u0027s called \u003Cem\u003EPremi\u00e8re manifestation d\u0027un Cin\u00e9ma Nucl\u00e9aire (Frist Demonstration of a Nuclear Cinema)\u003C\/em\u003E. And he was writing that. And we communicated our mutual projects, like that? He was\u2026 I\u0027m telling you: he was still, he arrived\u2026 I mean: the following year, he arrived in Paris. And thus there\u2026 There too, actually, I found a letter \u2013 it was very very funny like that, now \u2013 where he asks me, like that\u2026 He had come to see me, and he had seen Isou, and then\u2026 For a room. He had found a room. \u003Cbr \/\u003E\u003Cbr \/\u003EJD.: And you have this letter at hand? \u003Cbr \/\u003E\u003Cbr \/\u003EM.: Wait, I don\u0027t know\u2026 Here. But I have other documents. (He opens the letter.) It\u0027s September 23. He had passed his high school diploma, so. (he reads) \u0022I found your letter, late, upon my return from a short trip in Paris and its near surroundings, for reasons all made of venom.\u0022 Of course, he refers to \u003Cem\u003EVenom and Eternity\u003C\/em\u003E. \u0022I could not really see you on Friday morning in your hotel but I met with Isou. I see what the situation is. If you succeeded I would help you to release the film, it is actually a job I do not dislike. Those poor morons will have to end up accepting and without keeping us waiting. We saw some cinema managers be bumped off for less.\u0022 (Laughs.) \u0022In this God and in general any creator forsaken city, I did what you asked me before I left\u2026\u0022 He talks about Cannes here (laughing): \u0022With five colleagues, I quite bothered the screening of the young (inaudible)\u2026\u0022 I don\u0027t know, well: it was a kid, who was making films there, and that they couldn\u0027t stand, in Cannes. \u0022Happy consequence: for the first time in his career still short, the idiot did not receive his usual award in a festival of thick stupidity. Furthermore, I laid the bases of the cine-club you wanted; and already its first director was shown the door.\u0022 (Laughs.) This, I like very much: he has not even started. So after we can see well, as we sat\u2026 These are things that\u2026 J\u003Cbr \/\u003E\u003Cbr \/\u003ED.: He already got it all. \u003Cbr \/\u003E\u003Cbr \/\u003EM.: Well, yes. So, you see, that\u0027s the way it happened. He arrived in Paris. \u2013 No, what is quite funny, is that he had spoken to Isou and that he asks\u2026 And thus it\u0027s something very\u2026 - I like things like this. (He continues the reading) \u0022Isou mentioned a possible room for 9000 Francs\u0022 it was thus 90 francs, at the time. \u0022Isou mentioned a possible room for 9000 Francs. If such a room exists, can you ask him to save it for me for the month of October?\u0022 and thus, that\u0027s where he was getting. \u0022Letter endings should be revolutionized.\u0022 (Laughs) \u0022Regards to Poucette and of course to Isou.\u0022 (laughs) \u003Cbr \/\u003E\u003Cbr \/\u003EJD.: This was in which year? M.: Ah this, it\u0027s 50. The 50s, the 50s. \u003Cbr \/\u003E\u003Cbr \/\u003EJD.: There is mainly in life, and also in the letter you just read, a lot of violence \u2013 juvenile \u2013 but violence none the less. \u003Cbr \/\u003E\u003Cbr \/\u003EM.: That\u0027s why. I was telling you this to already see this violence, that he always expressed\u2026 \u003Cbr \/\u003E\u003Cbr \/\u003EJD.: And for example, under which form? \u003Cbr \/\u003E\u003Cbr \/\u003EM.: Oh ! It was a verbal violence most of the time. Except that he went\u2026 \u003Cbr \/\u003E\u003Cbr \/\u003EJD. : There is the verb \u0022bump off\u0022 there though\u2026 \u003Cbr \/\u003E\u003Cbr \/\u003EM.: Yes but \u0022bump off,\u0022 I mean, it was in the surrealist meaning of the term. He liked surrealists a lot. A lot, a lot. Lettrism arrived later. But he has\u2026 It was someone who was shaped, well, like that, by reading the surrealists. Actually, it was literature\u2026 Rimbaud, Lautr\u00e9amont, Well, the whole channel like this, that was going all the way back to him, that yes. He actually could write, very, very, very well. He had a sharp pen, we were fearing. He liked nothing more than letters\u2026 He was in total admiration of the telling off letter Breton was sending: he liked that enormously. With excessively radical positions, decisive, he defended. And himself, actually, was quite a loner. And I was telling you, he always cleared the way around him. (Laughs) He was actually\u2026 a bit like Breton: he was sweeping clean. Exclusions went well with him. Well, I have nothing\u2026 I think it\u0027s very good.\u003C\/article\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n              \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item odd \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EGreil Marcus \u2013 Lipstick Traces \u2013 A secret history of the twentieth century\u003Cbr \/\u003E\u003Cbr \/\u003E translated from English by Guillaume Godard\u003Cbr \/\u003E\u003Cbr \/\u003E 1989, Marcus Greil \u003Cbr \/\u003E\u003Cbr \/\u003EEditions Allia, Paris, 1998\u003Cbr \/\u003E\u003Cbr \/\u003Ep. 398 \u2013 THE ATTACK ON CHARLIE CHAPLIN \u003Cbr \/\u003E\u003Cbr \/\u003E(\u2026) \u003Cbr \/\u003E\u003Cbr \/\u003EThe imperatives of the minimum and the maximum naturally led Isou and his group from the altars of their austere Parisian meeting rooms to the fleshpots of Babylon \u2013 to the 1951 Cannes Film Festival, where they disrupted one gathering after another in a crusade to get Isou\u0027s movie shown. When the attempt was first made, Isou did not show himself. \u003Cbr \/\u003E\u003Cbr \/\u003EThe act of creation made one god: Isou, it was announced, made his film in six days, and thus on the seventh day, purportedly the day the lettrists presented the work, he rested. Isou settled for dedicating his work to the master of classis film (D.W. Griffith, Erich Von Stroheim, Abel Gance, etc.), thus placing himself in their company. \u003Cbr \/\u003E\u003Cbr \/\u003ESoon enough, the lettrists caused enough trouble to win Isou a screening \u2013 restricted, at the last minute, to an audition of his soundtrack. The Combat critic was aghast, though he allowed that \u0027between Eve and Isidore there is still a place for true cinema\u0022 (Joseph L. Mankiewicz\u0027s \u003Cem\u003EAll about Eve\u003C\/em\u003E won the Cannes Special Jury Prize). Critic Maurice Sch\u00e9rer (later better known as director \u00c9ric Rohmer) rallied with a rather apologetic defense in Cahiers du cin\u00e9ma, which caused even a young Jean-Luc Godard to blanch. Through the graces of Cocteau, the festival actually awarder Isou the \u0022 Prix de l\u0027avant-garde\u0022 \u2013 which was contrived on the spot.\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EGreil Marcus\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n\n    \u003Csection class=\u0022field field-name-field-sources-bibliographiques field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EBibliographical sources\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EDEVAUX Fr\u00e9d\u00e9rique, \u003Cem\u003EChapitre 4. La carri\u00e8re du trait\u00e9 en 1951-1952\u003C\/em\u003E, pp.55-67.\u003Cbr \/\u003E DEVAUX Fr\u00e9d\u00e9rique, \u003Cem\u003EChapitre 7. L\u0027ann\u00e9e 1952\u003C\/em\u003E, p.127-135.\u003Cbr \/\u003E in DEVAUX Fr\u00e9d\u00e9rique, \u003Cem\u003ELe cin\u00e9ma lettriste (1951-1991)\u003C\/em\u003E, Paris, Editions Paris Exp\u00e9rimental, 1992, 320p.\u003Cbr \/\u003E \u003Cbr \/\u003E DEBORD Guy, DEBORD Alice, RAN\u00c7ON Jean-Louis, pp. 42-43.\u003Cbr \/\u003E in DEBORD Guy, DEBORD Alice, KAUFMANN Vincent, RAN\u00c7ON Jean-Louis, \u003Cem\u003E Guy Debord, \u0152uvres\u003C\/em\u003E, Paris, Editions Gallimard, 2006, 1904 p.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \n      \u003Cfigure style=\u0022width:300px;height:218px;\u0022\u003E\u003Cimg class=\u0022image grid_small\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_small\/public\/images-documents\/ISOU1951_BAVE_AUTO_VARS_01.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022100\u0022 height=\u002273\u0022 alt=\u0022\u0022 title=\u0022Isidore Isou | trace de la performance \u0026quot;Trait\u00e9 de bave et d\u0026#039;\u00e9ternit\u00e9\u0026quot;, 1951 | \u00a9 DR | courtesy  Fonds Guy Debord, BnF\u0022 \/\u003E\u003Cimg class=\u0022image grid_medium\u0022 src=\u0022\/sites\/default\/files\/styles\/grid_medium\/public\/images-documents\/ISOU1951_BAVE_AUTO_VARS_01.jpg\u0022 width=\u0022300\u0022 height=\u0022218\u0022 alt=\u0022\u0022 title=\u0022Isidore Isou | trace de la performance \u0026quot;Trait\u00e9 de bave et d\u0026#039;\u00e9ternit\u00e9\u0026quot;, 1951 | \u00a9 DR | courtesy  Fonds Guy Debord, BnF\u0022 \/\u003E\u003Cimg class=\u0022image grid_large\u0022 path=\u0022\/sites\/default\/files\/styles\/grid_large\/public\/images-documents\/ISOU1951_BAVE_AUTO_VARS_01.jpg\u0022 src=\u0022http:\/\/dev.performance-art.fr\/\u0022 width=\u0022300\u0022 height=\u0022218\u0022 alt=\u0022\u0022 title=\u0022Isidore Isou | trace de la performance \u0026quot;Trait\u00e9 de bave et d\u0026#039;\u00e9ternit\u00e9\u0026quot;, 1951 | \u00a9 DR | courtesy  Fonds Guy Debord, BnF\u0022 \/\u003E\u003Cimg class=\u0022blank\u0022 src=\u0022\/sites\/all\/themes\/gui\/perfarttimeline\/images\/blank.gif\u0022 width=\u0022300\u0022 height=\u0022218\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003Cfigcaption\u003EIsidore Isou | trace de la performance \u0022Trait\u00e9 de bave et d\u0027\u00e9ternit\u00e9\u0022, 1951 | \u00a9 DR | courtesy  Fonds Guy Debord, BnF\u003C\/figcaption\u003E\u003C\/figure\u003E  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EFaire-part de r\u00e9ussite au baccalaur\u00e9at de Henri Met (dit le Divin Met) et de Guy Debord (qui ne forme qu\u0026#039;une seule et m\u00eame personne)\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EAffiche du film r\u00e9alis\u00e9e par Jean Cocteau\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPortrait de Guy Debord devant une de ses inscriptions \u00e0 la chaux.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ESortie de la projection de \u0026lt;em\u0026gt;Trait\u00e9 de bave et d\u0026#039;\u00e9ternit\u00e9\u0026lt;\/em\u0026gt;\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EGuy Debord, Jacques Fillon et Marc\u0026#039;O en visite chez Jean Cocteau\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPresse\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ENice Matin, dimanche 20 avril 1951, p. 1.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPresse\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ENice Matin, dimanche 21 avril 1951, p. 10.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPresse\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ENice Matin, dimanche 27 avril 1952, pp. 4-8.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPresse\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ELe Patriote Cannes, 11 avril 1951, p. 3.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPresse\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ELe Patriote Cannes, 20 avril 1951, p. 3.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPresse\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ELe Patriote C\u00f4te d\u0026#039;Azur, Juin 1993.\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E  \n\n    \t\u003Carticle class=\u0022node-objet\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EObjets\u003C\/div\u003E\u003C\/article\u003E    \t\u003Carticle class=\u0022node-objet\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EObjets\u003C\/div\u003E\u003C\/article\u003E  \n\u003C\/article\u003E","nid":"2778"}