Abstract Champ-contre-champ examines the writings of Jean-Louis Comolli, theorist and historian of political cinema, in parallel with the practices of grass-roots film documentary producer Slon/Iskra. As two of the main players of the 1960s cinéma militant, Comolli and Slon/Iskra stand as exceptions in the context of political cinema as they both have continuously and relentlessly worked for the survival of a certain ethics and form of cinema politic until today, 50 years later. The article compares Comolli’s assertions that ‘true political cinema’ has disappeared as filmmakers, including politically engaged ones, became more dependent on television for financing, with Slon/Iskra’s practices and the forms of the films it supports. The article gives overdue visibility to Comolli’s theories as well as to the resilience of Slon/Iskra in resisting the pressures of mainstream cinema.

中文翻译：

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冠军争夺战：通过让·路易斯·科莫利（Jean-Louis Comolli）的好战电影人的镜头，Slon / Iskra制作了新的社会纪录片

摘要Champ-contre-champ与基层电影纪录片制片人Slon / Iskra的做法同时，考察了政治电影的理论家和历史学家让-路易斯·科莫利（Jean-Louis Comolli）的著作。作为1960年代电影激进组织的两个主要参与者，科莫利和斯隆/伊斯克拉在政治电影领域是例外，因为他们一直不懈地为某种道德和政治形式的电影生存下来，直到今天，50多年后。这篇文章将科莫利的断言与“真正的政治电影”消失了，因为电影制片人（包括从事政治活动的电影制片人）越来越依赖电视来筹集资金，这与斯隆/伊斯克拉的做法和所支持的电影形式有关。