Daniele Huillet, Jean-Marie Straub

INTRODUCTION
PART ONE: FOUNDATIONS
I. EROTIC BARBARITY: OTHON
1. A Play, A Film
2. Principles
3. Tradition and Opacity
II. OBJECTIVITY AND OBJECTIVITIES
1. Huillet and Straub-style 'Objectivity'
2. Objectivities
3. The Objectivists: A History
4. Objectivist Poetic Theory
PART TWO: LANGUAGE/AUTHORITY
III. THE POWER OF SPEECH (OR THE VOICE), OF SEEING AND THE PATH: MOSES AND AARON
1. Moses, Aaron, Schoenberg, Huillet & Straub
2. The Cinematic Form of (the Absence of) God: 'The Calling of Moses'
3. Language Remains
4. Birth of a Nation: Act II and End
5. Objective on Objective: Huillet and Straub's Position
IV. SPEECH AGAINST POWER, OR POETRY, LOVE, AND REVOLUTION: 'A'-9
1. A Poem, History
2. The Form of 'A'-9
3. Value and Meaning: Capitalism and Abstraction
4. Love as a Poetic/Revolutionary Technique
PART THREE: INTERRUPTIONS
V. CINEMA, POETRY, HISTORY: IMMOBILIZATIONS
1. Introduction to Arnold Schoenberg's 'Musical Accompaniment to a Cinematographic Scene': Motion and Pause, Cinema as History
2. From Ideogram to Fugue: Poetry/Cinema
3. Interruptions
4. Continuities
5. History Without a Name
6. Braiding, Cutting
PART FOUR: TRIALS, SERIES
VI. INDUSTRIAL CIVILIZATION FOR THE LAST TIME: CLASS RELATIONS
1. Trials
2. On Space
VII. ON DISSOLUTION
1. Speech Without Authority: The Death of Empedocles
2. On Dismantling: Testimony and Workers, Peasants
CONCLUSION
INDEX