«It is necessary to recover what the show took from reality. The spectacular expropriators must in turn be expropriated. The world is already filmed. Now it's about transforming it. "

«There is no film. The cinema is dead. There can no longer be films. If you want, let's move on to the debate. "

Guy Debord called himself a filmmaker. In the short biography published for the premiere of his film The Society of the Spectacle (1974) he presents himself in this way but without ceasing to underline the distance between what said activity meant in his particular case and the expected performances for a director . As is known, Debord's life was marked by cinema and by the will to deny it in every possible way, “with and against cinema”, as one of his articles in the magazine Internationale Situationniste was titled. His first public action was the projection of a film without images, and the last was depriving the world of the possibility of seeing his films, which actually happened during the end of his life. Also the work with which he has remained most associated, The society of the spectacle, before becoming a book was a film project "of a new genre." If today we can paradoxically speak of the underground influence of Debord's film work, which fed both the nouvelle vague and the militant film and videoactivism practices of the seventies to the present, it is not because he aspired to carve out such a position in the history of artistic forms. Quite the contrary: if something reluctantly characterized this incursion, it was the desire to destroy cinema by its own means: that the looting of reality practiced by the camera be replaced by the looting of recontextualized images in a new montage.

The publication of this volume today, which brings together for the first time in Spanish all the scripts written by Debord, is neither innocent nor a mere archivist exercise. We know that our media landscape is not the same and that cinema is no longer what it used to be. However, Debord's poetics of appropriation, his use of plagiarism and deviation as aesthetic-political exercises and the meticulous corruption of all the elementary components that make up the cinematographic device (frame, image and sound band, screen, room, commentary , criticism), are now emerging as a current strategy to deal with the perpetual flow of digital images. To paraphrase the Slovenian group Laibach, probably one of the most interesting readings of situationism from pop culture: "All art is susceptible to political manipulation, except for that which speaks the language of that same manipulation."