At the 1951 Cannes Film Festival, 19-year-old Guy Debord meets Isidore Isou's lettrist group which projects (to a booing audience) a film called "Treaty of Dribble and Eternity"; a film made of found-image collage, sometimes deteriorated, with a sound track of onomatopoeic poetry and monologs. This work is in the lineage of dadaism and Italian futurism, in particular in that of Kurt Schwitters and his "Ursonate". Isou and the lettrists (Maurice Lemaître, Gil J. Wolman), picking up the iconoclastic load of the dadaists and the first surrealists before them, want to carry to term the self-destruction of artistic forms. Traditional art is declared dead; one suggested alternative is "hijacking," the joining of already-existing elements into new creations. The lettrists hope to overcome the division between artist and spectator, between life and art; the world is to be dismounted and rebuilt under the sign of generalized creativity. They also organize small scandals (Easter, 1950, in the cathedral of Notre-Dame, a young man disguised as a Dominican takes the pulpit and announces to the faithful the "death of God"), and specialize in the sabotage of the Cannes Film Festival.