ary Army in Argentina and, in contrast, images of the movement of women calling for peace in Northern Ireland. Images of women in resistance thus stand in opposition to the flow of images of men at war, soldiers, aircraft carriers. Then, Carole Roussopoulos stops typing and, whilst smoking a cigarette, carefully listens to the ex-cerpt read out by Delphine Seyrig, which establishes a parallel be-tween “getting laid” and waging war:

“Man […] is responsible for war .The male’s normal compen-sation for not being female, namely, getting his Big Gun off, is grossly inadequate, as he can get it off only a very limited number of times; so he gets it off on a really massive scale, and proves to the entire world that he’s a ‘Man’.” 18

The filming takes place at Delphine Seyrig’s apartment, place des Vosges; Sami Frey is the boom operator, and Paul Roussopou-los is behind the camera. While Carole Roussopoulos claimed that they had randomly filmed during the evening television news (“It’s live, the day’s news footage is terrifying”) 19, this appears to be inac-curate: the directors offer a filmed performance constructed with utmost rigour. A double editing — both textual and audiovisual — was prepared beforehand (including international news footage taken from the TF1 evening news on Sunday, 22 August 1976). The video was then shot in a single, long take that is only interrupted by two technical cuts, starting at the twenty-fourth minute.

By creating a parallel between extracts from the original mani-festo and from the TV news, and by using television fragments as a counterpoint to literary fragments, the video device provides dis-