The Situationist International and the Social Space of Film: With and Against Cinema

This book explores the Situationist International’s paradoxical relationship with cinema from 1957 to 1972. The SI was a postwar avant-garde that condemned representation’s erosion of social life. Yet its membership cared deeply for cinema, the epitome of capitalist representation for that era. How did the Situationists reconcile their interest in filmic social space with their hopes to revolutionize social space in city streets?

The Situationist International and the Social Space of Film: ...