SCUM MANIFESTO Echoes 67

improvising a sound editing by turning the volume of the monitor up and down. Isn’t the conversation “a game of secateurs”, accord-ing to Jules Renard’s own words? Here, the two women “ prune the next (male) person’s voice as soon as possible”. 3

“Framing-cutting”

In addition to the use of counterpoint, “framing-cutting” ap-pears as the second form of emancipation of SCUM in which the C(utting Up) is programmatic. In the foreword to the Manifesto 4, Christiane Rochefort explained the need to “get the knives out”. Delphine cuts up the textual fabric of the Manifesto. Carole also seems to be tearing the words to pieces, rhythmically jerking them with her keystrokes. This firearm hammering is reminiscent not only of the way in which Solanas made use of firearms (in par-ticular against Warhol) but also of a coincidence that is recalled by Friedrich Kittler: “The Remington typewriter and the machine gun were produced by the same company at the same time, and that in a certain way they make the same sound and share a similar history”. 5 Although we cannot tell for sure whether the typewriter that was used in Scum (by Roussopoulos or Solanas) was made by the same manufacturer, the anecdote remains unsettling. It may be noted that the artist Ravi Zuppa’s hybrid sculptures (Mightier Than) have given shape to this historical fact. 6 Another meaning of “framing-cutting”: the forward and backward optical movements which alter the frame, cutting up the space and cutting off the two women in order to concentrate on the monitor. Finally, in the last