[which gives life' to the images gun, deprived…]

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which gives life' to the images gun, deprived of his status and presented; these dead objects authority, Sgt. Burns is sent out are vitalised to correspond with alone into an alien environment And of course one major terrors and temptations may be type of pornography is specif- sent to try him.

IU L created function achievement. will be acknowsuccubi for the viewer. Rather it ledged by social recognition and is observation of the images' reward. And there's the captain mutual sexual activity which of police as the living guarantee creates the satisfaction of the of the promise-he limps badly, experience. This is what we are so we know he's been through this of work experience himself. cannot simply be slotted into Arel throughout une detection ceremony he remains in clandesthriller, and in Cruising the tine contact with Sgt. Burns, the combination does not work at adult male sponsoring the ing peep on the wild side, the many societies he would in fact through the home movies of a homosexual experience, as an man with boring, second-rate, expression of male bonding.

is barely titillated: certainly not ly homosexuality which is the thrilled, but, far more, confused terror of the ordeal-and its tion is a prominent characteris- attacked the and those must be blow-jobs happening against the wall, and is that a guy getting fist-fucked over there? -the camera-tye moves back for verification, yes that's what it is-more leather, lights, locked bodies.

Objects

This is not fiction. In documentary there are no subjects moving with autonomous activity. To assert the literal reality of the images which it presents, documentary produces them as framed, encaged objects, which are allowed to become real only by the fact of being observed.

Reporter and camera become extensions of the viewer's rational observing self. They do not 'distort'-by creat"simply', sim interpreens, selectint their objects. In this activity, documentary merges reporter, camera, viewer to produce its sole subject: an indivisible the fantasies of the viewer.

ically voyeuristic: images treated to in Cruising.

The middle any level. initiate.

When Friedkin takes a gloatresult is like having voyeuristic fantasies. The viewer and even embarrassed.

One way and another, titlato face and overcome whatever If he survives this ordeal, his pretty tough, maturing the manhood rites of introduce the younger man to Here, of course, it is precisetemptation.

Some critics of the film have identification

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French workers at the barricades in Paris, 1936 We continue our occasional series of articles on the history of the Trotskyist movement in France with the final part of a study of the movement from the beginnings of the crisis of the Comintern to the outbreak of the Second World War. It is based very largely on 'Les Enfant du Prophete' by Pierre Roussel, who was at the time he wrote the book associated with the group 'Socialisme ou Barbarie' which had links with the British Wednesday SENS Solidarity grouping.