Many were produced by a kind of non-profit coop. Floriana and Gérard Lebovici’s Champ Libre put out Simon Leys's Les habits neufs du Président Mao / The Chairman's New Clothes. Viénet published three more books under the Champ Libre imprint in Hong Kong: Chinese translations of Mustapha Khayati’s Situationist classic De la misère en milieu étudiant / On the Poverty of Student Life and of Harold Isaaacs's Tragedy, as well as Luo MengCe, Le paradoxal destin politique de Confucius. The relationship with Champ Libre ended when Guy Debord convinced Lebovici not to publish any more books by Leys (including Ombres Chinoises / Chinese Shadows, then at the page-proof stage). Leys's books of the period ended up at the UGE/Plon paperback imprint 10/18 and were later reprinted at Viénet’s initiative by Jean-François Revel at Robert Laffont. Also published by 10/18 under the imprint of Christian Bourgois were several Bibliothèque Asiatique titles, among them book-length editions of famous samizdats by Wei JingSheng and the Li YiZhe group, in both cases for the first time outside China; they were published first in French and separately in Chinese. Viénet has the distinction of being fired twice by his colleagues at the CNRS (the second time for good). His transgression was publishing Leys's work and also Révo. cul dans la Chine pop (again with 10/18). The latter was a notorious collection of first-hand documents written by the Red Guards, edited by Chan HingHo, who supervised the translation into French by a team of young students; the book had an introduction by Viénet, who coined the slang title Révo. cul. (approximately "asshole revolution"), which became a widely used nickname in France for Mao's criminal Great Proletarian Cultural Revolution. Viénet’s enemies the Catholic-Maoists—then in control of Asian Studies in France—also took offense at the anti-Mme Mao-ist thrust of his film Chinois, encore un effort pour être révolutionnaires / Peking Duck Soup, an extraordinarily innovative experiment in documentary film-making, which remains Viénet's major film to date. Taken together, Viénet's publishing and cinematic activities in the late 1970s constitute a lonely but devastating campaign against the quasi-general and aggressive consensus of a French intelligentsia befuddled by Maoist pipedreams. A more-than-worthy extension of the Situationist project. Confronted by the financial failure of Chinois in spite of its success at the 1977 Cannes Festival, and by the relentless hostility of French academics—the same ones who made sure that Leys/Ryckmans would never