关于在短时间内的某几个人的经过
影片信息
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-
HD中字内详
-
HD中字金香起
-
HD中字7.0 诺拉·阿娜泽德尔 舒巴姆·沙拉夫 玛丽亚·贝罗 约瑟芬·德·拉·波美 阿利·汗 卢卡·梅利瓦 Ranjit·Krishnamma Sartaj·Garewal Michael·John·Casey Raffaela·O'Neill
-
HD中字7.0 萨拉瓦南 Abishan·Jeevinth Anaswara·Rajan Harish·Kumar Kavya·Anil Theni·Murugan Sacchin·Nachiappan S·Rajapandi
-
HD中字7.0 安娜·穆查 Nadine·Heidenreich Anna·Yuzhakova Tatiana·Garkusha Lyudmila·Sidorkevich
-
HD中字5.0 萨莱·巴克里 雪梨·道比什 穆罕默德·巴克里 亚当·巴克里 玛丽亚·兹莱克 拉姆齐·马克迪斯 哈雅特·阿布·萨马拉 多米尼克·马林札 亚当·科哈塔 穆哈迈德·阿比德·埃尔拉赫曼
-
TC5.0 佩内洛普·克鲁兹 克里斯蒂安·贝尔 杰克·吉伦哈尔 约翰·马加罗 朱莉安·浩夫 安妮特·贝宁 马科·查卡 马修·马希尔 彼得·萨斯加德 路易斯·坎瑟米 杰西·巴克利 威廉·希尔 珍妮·柏林 伊莲·阿普鲁泽西 斯蒂芬妮·特洛亚克 马西尔·摩丹 莉迪亚·凯莉 索菲娅·科 本·格林 安东尼·贝里尼
-
HD7.0 邱泽 谢琼煖 刘冠廷 黄镫辉 梁正群 曾珮瑜 刘品言 白小樱 汤毓绮 林品彤 赖雨霏 陈竹升
-
HD国语王晓禹 麦霁雯 陈最
-
HD中字7.0 安森·布恩 安德丽娅·赖斯伯勒 斯蒂芬·格拉汉姆 卡勒姆·布斯-福特 基特·拉库森 诺亚·曼祖尔 奥斯汀·海恩斯 萨万娜·斯泰恩 Monika·Frajczyk
-
HD国语7.0 韩克 刘二宝
-
HD中字6.0 Titi·Kamal Citra·Kirana Muhammad·Faqih·Alaydrus Daffa·Wardhana
-
HD中字7.0 克里斯托弗·约纳尔 皮娅·吉尔塔 凯瑟琳·索博格·约翰森 Tarek·Zayat Kristoffer·Sagmo·Aalberg Ismael·Al-Khazaali Ibrahim·Amaev Anna·Bakke Negusse·Berhe Selma·Brattabø Osama·Dabagh Benjamin·Ebbesen Ragnhild·Gudbrandsen Johannes·Hageseter Téa·Grønner·Joner Celine·Knag Njål·Lambrechts
-
HD8.3 史泰龙演绎越战英雄
-
HD中字5.0 克里斯蒂安·斯塔姆 哈维尔·佩雷伊拉 阿隆·陂佩 比森特·贝尔加拉 丹尼尔·霍瓦斯 Altynai·Nogherbek 费尔南多·瓦尔迪维尔索 米格尔·埃尔南 Peter·Nikolas Alejandro·Jato Federico·Pérez·Rey 何塞·帕斯塔 Manel·Llunell Sergey·Ufimtzev 金娜·塔斯布拉托娃 Diego·Montejo Sara·Robisco Farabi·Akkozov Manuel·Cordero Vladimir·Dimitrov
-
HD中字7.0 光俊 清南 麻兰都 元草 尹国丹
-
HD中字7.0 奥萝尔·克莱芒 邓肯·艾尔利·詹姆斯 奥马尔·阿尤索 José·Roberto·Díaz Eddie·Register Dorothée·de·Koon Roland·Bonjour
-
HD7.0 沙鲁巴·舒克拉 莫娜·辛格 拉狄卡·马丹 亚尼·卡普尔 Aditya·Rawal Faisal·Malik Amit·Jha Vikram·Pratap Harsh·Purwar Lata·Shukla Esha·Shital
-
HD姜末琴 奉太奎
-
HD5.0 莎拉·鲍尔 安德鲁·富尔茨 马克·赫尔曼
-
HD杉咲花 南琴奈 板垣李光人 苍井优 涩川清彦
-
HD7.4 潘斌龙 肖央 郑恺 任达华 齐溪 奥黛丽·欧塔维阿诺 法提
-
HD中字8.0 Maryam·Bobani Nader·Naderpour Hana·Kamkar Abbas·Imani Ghazal·Shojae
-
HD中字内详
-
HD8.0 Kery James Bakary Diombera Bakary Diombera Jammeh Diangana
-
HD7.0 米热 石峰 于山川 甄伟 陆明明 禹帆 德吉次仁 李书雅 蒋雯旭
-
HD元宝 李乾铭 张春仲 于又川 王鹰 曹禹澄 李雄 张星阑 冯瀑 齐·宝力高 李梦瑶 孔孝信 孙祎彤
-
HD查宁·塔图姆 简·利维 阿莉雅·肖卡特 科洛·塞维尼 卡勒姆·特纳 蒂姆·海德克 托比·尼克尔斯 索尔·洛佩斯 普莉希拉加里塔 克洛伊·伊斯特 吉尔·佩雷斯-亚伯拉罕 菲尔·伯格斯 吉尔伯托·奥尔蒂斯 托尼·肖卡特 Dash·Melrose 沙霍莉·艾尔斯 理查德·布莱克蒙 阿里乌斯·巴恩斯 扎赫拉·阿尔祖拜迪 肖恩·崔
-
HD6.9 刘昊然 董子健 雷佳音 韩昊霖 张宥浩 章若楠 殷桃 宁理 董宝石 迟兴楷
-
HD中字罗姗娜·阿奎特 阿丽尔·朵巴丝勒 亚历山大·斯卡斯加德 凯特·贝兰特 詹米·德米特鲁 海利·盖茨 凯莉·詹娜 莎拉·贝克·马瑟 埃什·阿拉迪 里什·沙阿 艾萨克·鲍威尔 瑞秋·塞诺特 特鲁·马伦 瑞安娜·杜斯 迈克尔·沃克耶 查莉XCX Richard·Perez Keanan·Cantrell James·Bayes Mel·Ottenberg