SCUM MANIFESTO contexts 50

competition between the US and the USSR for the conquest of space) — illustrates the scumful world, caused by the male con-dition that Solanas condemns. Then, in turn, Carole or Delphine turn the volume down, silencing the dominants’ rhetoric. The tel-evision, which is denounced in many of Carole Roussopoulos’s films, is here creatively appropriated in order to support Solanas’s argument. A striking audiovisual fight is taking place between Da-vid (video) and Goliath (TV).

Through the processes of translation and reading, Delphine’s voice encounters that of Solanas. The close-ups of Carole’s hands typing, of the television monitor and Solanas’s face on the book cover, function to produce an audiovisual ambiguity. Delphine’s voice becomes non-diegetic and seems to originate from Solanas’s face on the book cover. It is Solanas who is speaking.