Late in life, Guy Debord worried that his first film, Howls for Sade, had been misunderstood. He attested his most notable revolt was "not the May 1968 revolt" but "what he'd done in 1952," Howls for Sade. This article conducts a literary analysis of Howls for Sade that sees the film as deeply embedded in traditional allegories of the apocalyptic and enlightenmet. Like traditional stories of epiphany and enlightenment, Howls for Sade presents a four-dimensional experience where white light encompasses the audience. Voices drone from an unspecified location, filling the theatre with an authoritative, godly presence. However, instead of giving way to conclusive knowledge through epiphany, Howls for Sade concludes in the black emptiness of infinite time and the infinite universe, demonstrating a fleeting nature of epiphanic truisms, as well as the fleeting nature of life and thought. The clearest definition of the film Howls for Sade is that it is imageless, and th...
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