Waterloo (Napoléon 1769-1969),» which stars Broodthaers sporting a false nose. And, thirdly, a group of found films which were re-edited and re-arranged by Broodthaers, such as «Charlie Chaplin als Filmstar,» and various news reels and commercials. The films were projected by the artist onto a white screen on which the abbreviations fig. 12, fig. 2, fig. 1, fig. A. had been stenciled. («Belga Vox –Mode-20th Century Fox»). What Broodthaers’ cinematic project demonstrates, in sum, is a process of continuous disorganization. Yet, by this very means, «Section Cinéma» provides a faint glimmer of an alternative public sphere; it indicates a social horizon of experience that can only enter representation in a fragmented form. «Section Cinéma» thus commemorates an unrealized, utopian potential of modern technology. A potential, furthermore, that is seized only in the fleeting moment of an arrested image. I have attempted to show where this interpretation of Broodthaers’ project overlaps with arguments that have been advanced elsewhere. However, in the face of current events, I am lead to conceive of Broodthaers’ project in the following, more particular fashion. If the gesture enacted by

Section Cinéma can be thought to have a redemptive potential than it was by countering a museum of attractions to the imminent reality of the museum as spectacle.