he could both provide them with the necessary frame (his first and only work for TV) and, as he had effectively told me in our correspondence in 1987, when he was no longer alive. In so doing, i.e. in insisting on his own death as a precondition for the work of the ciné-fils to appear in the televisual dispositif that was effectively synonymous with at least one of the deaths of cinema, Debord revealed the history of his engagement with cinema as a critical performative reflection on the cultural politics of the cinema across the complex history (before, with and after) of its multiple dispositifs.