本地记录 云端记录
关于在短时间内的某几个人的经过

关于在短时间内的某几个人的经过

1959
导演 : 居伊·德波 /
演员 :
类型 :
豆瓣 : 0.0
1959 · 其它 · 战争  · 英语 ·

扫一扫手机播放

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.
展开

    资源列表

    相关影片

    乱世江湖神兵决
    江湖中又起波澜,传闻那四大神兵之中,最为神秘莫测的彼岸花再次现世中原,这一消息如同春风拂过死水,激起了层层涟漪,引得各路英豪蠢蠢欲动,纷纷踏上寻觅之路。只为夺取神兵称霸武林谁曾想,这其中却隐藏着一个惊天的秘密(阴谋竞牵扯出无数江湖争斗。)
    冷雨剑潇潇
    明朝时期,莫问君为寻师父来到落雁镇参加一场神秘的比试,江湖小侠叶知秋也混入了这桩精心设计的阴谋。在经历了生死考验后,两人解开了多年前一段江湖公案之谜,同时莫问君也了解了自己的身世。
    血战桥头堡
    托尼·柯蒂斯在影片中饰演一名勇敢机智的海军陆战队员,在二次世界大战中,他随同班长前往南太平洋一个小岛上进行危险的救人任务。营救目标是在岛上开垦的法国人,并要研判这名法国人提供的日军埋藏地雷线索是否正确。
    朱诺
    高中生朱诺(艾莲·佩奇 Ellen Page饰)大大咧咧,是个可爱的精灵鬼,正经历着青春期到成人的蜕变。这一天她突然做出决定:要和帅气的田径队员布里克(迈克尔·塞拉 Michael Cera饰)共尝禁果。朱诺这次可闯了大祸,她一不留心竟然珠胎暗结,接下来的麻烦可想而知。   和布里克谈婚论嫁显然还为时过早,但朱诺并不想堕胎,她和好友商量,决定把孩子生下来,然后交给一对善心的夫妇抚养。然而,父母终究得知了朱诺的秘密,反应并没有朱诺料想的那么糟糕——一家人因为腹中的孩子团结起来,共商计策,为她分担怀孕的点滴苦乐。但是,朱诺毕竟是一个超级年轻的妈妈,小小年龄如何应对这一切,恐怕还要经历一次心灵的蜕变。
    忠实的心
    玛丽(Gina Manès 饰)是一个生活在困苦和焦虑之中的女人,她是保罗(埃德蒙·凡·达埃勒 Edmond Van Da?le 饰)的情人,保罗是一个酗酒而又脾气暴躁的男人,在生活中,占有欲极强的他掌握着玛丽的一举一动,这让玛丽感到非常的痛苦,产生了想要逃离的念头。   一天,玛丽认识了一个名叫琼(Léon Mathot 饰)的男人,琼是一名码头工人,长期的体力劳动让他拥有一副非常健硕的身躯。玛丽和琼坠入了爱河之中,她渴望着能够逃离保罗,和琼远走高飞。除了保罗和琼外,玛丽还要操心的是她的孩子,这个孩子体弱多病,总是徘徊在生死线上。
    与德莱尼夫妇约会
    Since the divorce from her husband David, Maggie Delaney has partly moved on with her life in opening her own bakery, she and her business partner Devon who want to expand by opening a second location if only they could get more exposure. Maggie has to be all things to her two children, sixteen year old Emma and fourteen year old Gary, in David being a deadbeat father who doesn...
    原地打转
    一个男人因为一场意外,一直被困在原地,不断跟时间打转······
    愿睡如梦
    昭和初年,私家偵探魚塚被一老婦人委託調查被綁架女兒的下落。偵探追查下去,卻發現事件和一部消失了的電影《永遠的謎》有關,這部電影比號稱日本最早起用女性演員,歸山敎正的《生之光輝》更早有女演員表演,但被警察禁映而消失。鏡頭跟著主角深入淺草的遊樂區,探索默片年代的戲院,解說的辯士、現場配樂的樂隊、放映前的雜耍表演,當年的電影是很「綜合」的娛樂…… 完全和電影業無關的新人導演林海象一鳴驚人的處女作,比《星光夢裏人》早近三十年採用仿默片的拍法,全部黑白攝影,人物對白全部用字幕卡代替,聲軌只有配樂、效果音等,引領觀眾暢遊世紀初的夢工場。
    仲夏之恋
    律师弗兰克(詹姆斯·维尔拜 James Wilby 饰)因为脚踝受伤而来到了一处偏远的小山村里修养,在那里,他邂逅了名为梅根(伊莫金·斯塔布斯 Imogen Stubbs 饰)的美丽女子。弗兰克的风趣和健谈吸引了梅根的注意,可是梅根此时已经有了未婚夫乔(杰罗姆·弗林 Jerome Flynn 饰)。   在一场剪羊毛大会上,弗兰克亦爱上了能歌善舞的梅根,然而两人的这段感情遭到了梅根家人和乔的强烈反对。虽然饱受非议,但这对爱侣还是决定尊重他们内心的选择,两人相约在镇上的火车站碰头,踏上私奔的旅途。然而,当梅根赶往火车站之时,却并没有看到弗兰克的身影,与此同时,弗兰克遇见了大学同学的妹妹,两人度过了甜蜜的三天。
    当我要飞时
    《当我要飞时》讲述因为一个再婚的消息,让四个来自完全不同家庭的高中生走到了一起。处在青春期的他们,在各自面对问题时所表现出的态度,增添了无法抹去的悲剧色彩。孩子们最终发现,不是每一个错误,他们都有能力为此买单。以航志宇(王浩翔 饰)、肖笑(梁咏妮 饰)、郑策(吴昊 饰)、林木(刘泊栩 饰)这四个家庭迥异、性格不同的高中生为视角,展现当代少年们的个性风貌、成长烦恼和自我审视,最终勇敢担当,蜕变成长。相信该片的少年蜕变、友谊成长、家庭温情都将是打动人心的看点,直击观众们敏感的内心。
    *
    *
    同意《个人信息保护政策》《服务政策》