Fernand Deligny, ‘a poet and ethologist’, is mostly known for his work with autistic children, and his influence on the revolutions in French post-war psychiatry. Though neither director, scriptwriter, historian of cinema nor a theorist of the image, cinema is constantly called into his social, pedagogical, and clinical experimentations. Also, he elaborates on the image to reflect on autistic perception and to radicalize his critique of humanism and discursive language. Deligny emphasizes that the camera is an apparatus mediating collective relationships. Furthermore, more interested in the processes of making, he distinguishes ‘camering’ from filming. Freed from the need to produce a finished film, it is a ‘film to come’ that is emphasized. The several film projects structure Deligny’s experimentations since they emancipate them from their supposed aim — that of normalizing psychotic or re educating deviant subjects.

Paperback illustrated | ISBN 97 890 8728 384 1| 250 pages | June 2022 | € 39,90 | English


Epigraph [1996]

Translator’s Note
Sarah Moses

General Introduction
Marlon Miguel

Cinema. Cine-Club [1934]

The Camera, a Pedagogical Tool [1955]

He’s Still One of Us [1971]

Camering [1977]

Miscreating [1979]

Camering [1982]

The Alga and the Fungus [1982]

Fossils Have a Hard Life:
Apropos of the Image [1982]

Camering [1978-1983]

The Distinctiveness of the IMAGEs [1988]

What Is Not Seen (by the Self ) [1990]

Postface. Minor Gestures, Minor Media
Elena Vogman