关于在短时间内的某几个人的经过
影片信息
- 状态：HD中字
- 主演：未知
- 导演：居伊·德波/
- 年份：1959
- 地区：法国
- 类型：剧情/
- 时长：内详
- 上映：未知
- 语言：法语
- 更新：2024-10-07 15:18
- 简介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
- 5
关注公众号观影不迷路
扫一扫用手机访问
网友评分
0次评分扫一扫用手机访问
剧情简介
Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
为你推荐
换一换- 更新HD阿部宽/龙星凉/生见爱瑠/前原瑞树/平原哲/内山昂辉/安藤玉惠/平田满/井川遥/吉田钢太郎/锦户亮/
- 更新HD弗朗索瓦·西维尔/沙伊恩·布迈丁/Toscane Duquesne/马洛丽·万涅克/Bakary Kebe/Emma Boumali/Marianne Ehouman/露娜·侯·布梅/Mohamed Fadiga/Atik Jawed/Estevan Marchenoir/艾格妮丝·赫斯泰尔/米丽娅姆·洁洁丽/埃米利·因斯尔蒂·福门蒂尼/穆斯塔法·阿波拉希德/阿明多·阿尔维斯·德萨/弗兰西斯·莱珀雷/费德莉·卡马拉/沃尔里德·阿非基尔/Djilali Redjal/
- 更新HDKeerthy Suresh/Suhas/Subhalekha Sudhakar/
- 更新第29集静美如/李名扬/李国庆/
- HD柯有伦/杨爱瑾/吴浩康/
- HD葛民辉/金城武/莫文蔚/李维维/蔡一智/谷德昭/兰茜/
- HD古天乐/曾志伟/杨千嬅/梁咏琪/吴孟达/吴家丽/蔡洁/李汶桂/余文乐/杜汶泽/Chapman/To/陈静/郑希怡/
- HD张家辉/张翰/秦沛/郑则仕/金燕玲/张兆辉/谷祖琳/苏丽珊/李尚正/王浩信/郭政鸿/董畅/艾米/蔡瀚亿/骆应钧/杨偲泳/
- 更新HD朱丽叶塔·卡迪纳利/米内尔娃·卡塞罗/奥古斯汀·德拉·柯特/费利佩·冈萨雷斯·奥塔诺/拉斐尔·斯普雷杰尔伯德/玛丽亚·尤金妮娅·苏亚雷斯/
- 更新HD成龙/王班/拉尔夫·马基奥/温明娜/赛迪·斯坦利/瓦耶特·奥莱夫/香奈特·芮妮·威尔逊/乔舒亚·杰克逊/阿拉米斯·奈特/Jennifer-Lynn/Christie/Emile/Pazzano/
- 更新HD托比·琼斯/罗杰·阿拉姆/理查德·阿米蒂奇/
- 更新HD布拉德·戴维斯/艾琳·米拉科/博·霍普金斯/保罗·博纳切利/约翰·赫特/
- 更新HD唐泽寿明/丰川悦司/平爱梨/常盘贵子/黑木瞳/香川照之/宫迫博之/石桥莲司/木南晴夏/神木隆之介/藤木直人/光石研/福田麻由子/
- 更新HD佩内洛普·克鲁兹/本·金斯利/丹尼斯·霍珀/派翠西娅·克拉克森/彼得·萨斯加德/黛布拉·哈里/查理·罗斯/安东尼奥·库普/米歇尔·哈里逊/桑娅·本妮特/艾米莉·霍尔姆斯/谢拉赫·霍斯达尔/玛茜·T·豪斯/亚历桑德罗·朱利安尼/Tiffany Lyndall-Knight/劳拉·门内尔/Kris Pope/朱利安·瑞钦斯/塔尼亚·索尔尼尔/迈克尔·泰根/Alan Wyn Hughes/瑞安·麦克唐纳/
- 更新HD保罗·希尔顿/埃里克斯·劳瑟/萝玛拉·嘉瑞/
- 更新HD谢哈布·侯赛尼/塔拉内·阿里多斯蒂/巴巴克·卡里米/法里德·萨贾蒂·侯赛尼/米娜·沙达蒂/
- 更新HD皮拉尔·洛佩斯·德·阿亚拉/维罗妮卡·桑切兹/贾布瑞拉·派申/玛尔塔·埃图拉/纳迪娅·德·圣地亚哥/特雷莎·乌尔塔多·德·奥赖/巴巴拉·莱涅/阿尔巴·阿隆索/玛利亚·科提艾洛/米伦·伊瓦古伦/费利克斯·戈麦斯/
- 更新HD安吉拉·温科勒/马里奥·阿多夫/迪特尔·莱瑟/尤尔根·普洛斯诺/海因茨·本奈特/汉娜洛蕾·赫格/Rolf Becker/Harald Kuhlmann/赫伯特·福克斯/雷吉纳·鲁茨/Werner Eichhorn/卡尔·海因茨·福斯格劳/Angelika Hillebrecht/Horatius H?berle/Henry van Lyck/Achim Strietzel/玛加蕾特·冯·特罗塔/
- 更新HD迈克尔·凯恩/奈杰尔·达文波特/杰尔·格林/哈里·安德鲁斯/帕特里克·乔丹/
- 更新HD朗贝尔·维尔森/迈克尔·朗斯代尔/萨巴纳·奥扎尼/奥利维尔·雷堡汀/雅克·赫林/菲利普·劳登巴赫/洛伊克·比雄/泽维尔·玛利/让-玛丽·弗兰/
- 更新HD帕特丽夏·阿奎特/瑞斯·伊凡斯/蒂姆·罗宾斯/米兰达·奥图/
- 更新HD埃玛·苏亚雷斯/塞尔希·洛佩斯/阿莱克斯·莫尔纳/布鲁诺·托德契尼/
- 更新HDLevi Brandl/Gedeon Burkhard/Andreea Coff/
- 更新HD亚历克斯·帕蒂弗/迈克·沃格尔/布瑞达·伍尔/威廉·贝利/夏奇拉·巴雷拉/约瑟夫·朱利安·索里亚/雅克·考利蒙/杰森·佩斯/安东尼·L·费尔南德斯/尼克瑞斯/Paige/Howard/Zach/Scheerer/Chip/Carriere/Faith/Monique/Brittney/Level/Mara/Hall/Warren/McLemore/
- 更新HDJannis/Niew/hner/Luna/Wedler/Elizaveta/Maximová/
- 更新HD左航/冯家妹/白恩/蔡珩/刘蕾/彭静/王钧赫/谢予望/翁楚汉/阚昕/杨添添/吕星辰/易硕/王九/杨德渝/
- 更新HD艾莉森·斯威尼/维克多·韦伯斯特/芭芭拉·尼文/
- 更新HD文峰/李帝勋/丹尼尔·C·肯尼迪/柳海真/Bianca Lau/Maurice Turner Jr./Derek Chouinard/
- 更新HD费·唐纳薇/奥斯卡·威内尔/李·格兰特/马尔科姆·麦克道威尔/Brian Gilbert/
- 更新HD费·唐纳薇/奥斯卡·威内尔/李·格兰特/马尔科姆·麦克道威尔/Brian Gilbert/