In the short films (the first one especially),[1] I have spoken much of particular events. From whence the weakness of the "documentary form"; especially due to the fact of aggravation introduced by its poverty.

In the film The Society of the Spectacle, one always speaks of the most general. Thus the particular can introduce itself quite easily (without being arbitrary in the illustration).

[1] Hurlements en faveur Sade (Howling for de Sade), 1952.

(Published in Autour des Films (Documents), the booklet accompanying Oeuvres Cinematographiques Completes, a three-DVD set released November 2005. Translated from the French and footnoted by NOT BORED! January 2006.)