the image: it cuts the later from its historical context. SCUM im-ages become ennobled, legitimised, and at the same time dispos-sessed from their political meaning and militant purposes. 39

It is worth remembering that the directors had opted for a so-bre mise-en-scène in order to emphasise Solanas’s words as much as possible. In a interview conducted by Hélène Fleckinger in 2007, Carole Roussopoulos explains that “Delphine could have read the text facing the camera. But she didn’t want to come across as the famous star (…) We sat at a table and started using the typewriter, thinking that it would allow us to go more slowly, to articulate each sentence and find the right rhythm”. SCUM Manifesto’s performa-tive nature thus contributed to the two directors’ feminist project: restoring and engaging with Solanas’s voice.

It is the power of Solana’s writing that has given rise to nu-merous responses, both political and artistic. The creative force of SCUM Manifesto and its multiple echoes lies in the power of wom-en’s voices and visions to create other realities, to open up and blur boundaries, even if this entails using humour as weapon of mass patriarcal destruction.