Belden, the noted journalist and writer on China. The Yiddish version had the voice of Moishe Zylberberg. And the Cantonese version had that of Li KamFung. Viénet himself provided the voice-over for the French version. All were recorded in the same year, 1976. The French voice-over for Chinois encore un effort was by Jacques Pimpaneau, with Thierry Lévy providing the voice for the Li YiZhe sequence. Donald Nicholson-Smith was responsible for the English-language version, entitled Peking Duck Soup, and the voice-over was that of John Galbraith Simmons. Both these films were produced by Hélène Vager, EdwinAline and Charles-Henri Favrod. Viénet worked with the same assistants on the two: Francis Deron (under a pseudonym since he had just been recruited by the AFP as a correspondent in BeiJing), and Wu XingMing or Ji QingMing (both pseudonyms for a citizen of the PRC living in France, who almost immediately distanced himself from Viénet and Deron). The editing team was Noun Serra, Monique Clementi, Bertrand Renaudineau, and Franck Vager. The sound engineer was Dominique Hennequin. The late Pierre Rissient was instrumental in the selection of these two films for Cannes. In 2019, Keith Sanborn was invited by Viénet to refresh his earlier American subtitling of Can Dialectics Break Bricks? Ever since, Sanborn’s American version has been the basis for other subtitled versions, notably, the Spanish version by Carlos Prieto, screened at Ficunam in Mexico, Madrid, and elsewhere. Publication La Tragédie de la revolution chinoise: 1925-1927 by Harold R. Isaacs, Paris, Gallimar, La Suite des Temps, 1967 (translator). Enragés et situationnistes dans le mouvement des occupations, Paris, Gallimard, Témoins, 1968. Enragés and Situationists in the Occupations Movement, 1968. Preface to Simon Leys, Les Habits neufs du président Mao. Chronique de la Révolution culturelle, Paris, Éditions Champ libre, Bibliothèque asiatique, 1971. Grestitions and Ensituats in the Abrem Movement, 1972. with Bernard Marbot, Notes sur quelques photographies de la Chine au XIXe siècle, à l'occasion de l'exposition "La Chine entre le collodion humide et le gélatinobromure" (Exposition, Bibliothèque nationale, Département des estampes et de la photographie, 1978), Paris, Centre de publication Asie orientale, 1978. Films Between 1969 and 1972, Viénet discovered and fell in love with the contemporary cinema of Hong Kong and older Chinese classics. In the period 1972-1974 he distributed more than one hundred films to markets in Europe, the French West Indies and French-speaking Africa. His first two releases in Paris, offered with