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：2024-09-16 04:26
- 简介：cccVoice 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.
- 784
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
cccVoice 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- 正片赵薇/Wei/Zhao/古天乐/钟汉良/卢海鹏/林雪/张兆辉/谢天华/洪天明/黄浩然/龚慈恩/王梓轩/欧锦棠/何果轩/詹秉熙/菁玮/朱健钧/杨尚斌/安小龙/麦子乐/施祖男/
- 更新HDMichael/Flores/Nicki/Valastro/乔恩·普劳德斯塔尔/Alice/Ritz/Karen/Aruj/Brandon/Dale/Hunt/Da'quann/Leonard/Laura/Stisser/Ann/Sweet/Jon/Turner/比尔·史密斯/Matthew/Terry/尤金·G·斯威斯·托马斯/Jesse/Wakeman/
- 正片尤利娅·梅尔尼科娃/安菲萨·切尔尼赫/Egor/Bulatkin/
- 更新HDNaslen/卡尔娅妮·普瑞娅妲珊/托维诺·托马斯/
- 已完结露娜玛雅/Shareefa/Daanish/Taskya/Namya/
- 更新HD汤姆·汉克斯/罗宾·怀特/保罗·贝坦尼/凯利·蕾莉/米歇尔·道克瑞/格威利姆·李/大卫·芬恩/奥菲利亚·拉维邦德/尼古拉斯·平诺克/妮基·阿姆卡-伯德/安雅·马可·哈里斯/碧悠·加德斯顿/劳伦·麦奎因/本·威金斯/乔纳森·阿里斯/乔尔·欧莱特/莉莉·阿斯佩尔/莱斯利·泽米吉斯/丹尼·麦卡勒姆/米切尔·马伦/比莉·加德斯登/德克斯特·索尔·安塞尔/斯蒂芬妮·西亚达坦/
- 抢先版伊桑·霍克/梅森·泰晤士/玛德琳·麦格劳/德米安·比齐尔/米格尔·卡萨雷斯·莫拉/杰瑞米·戴维斯/阿里安娜·里瓦斯/安娜·洛尔/Graham/Abbey/梅芙·贝蒂/
- 更新TC道恩·强森/艾米莉·布朗特/惠特尼·穆尔/巴斯·鲁藤/保罗·拉赞比/杰森·特朗布莱/安德烈·特里科图/祁答院雄贵/保罗·程/滨村洋子/Oleksandr/Usyk/Lyndsey/Gavin/Ryan/Bader/Ismail/Elfallahi/Nina/Sugii/James/Moontasri/Zoe/Kosovic/Ryan/Ventura/Jason/Broadwell/Satoshi/Ishii/
- 正片凯蒂·基恩/凯西·卡斯米拉/Diego/Gomez/
- 更新HD乔治·布什/罗纳德·里根/William/K./Reilly/
- 正片Robin Hood/
- 第1集刘思远/王艺妍妤/刘爽/周丽峰/石晶/何运晨/漆漆/中二的大暄哥/马吐兰/梁伟丰/高晓攀/王思文/傑夫李/
- 正片玛丽昂·歌迪亚/加斯帕·诺/奥古斯特·迪赫/克拉拉·帕西尼/利拉-萝丝·吉尔贝蒂/杜尼亚·西乔夫/Marine/Gesbert/Wilhelm/Bonnelle/Raphael/Reboul/Carmen/Haidacher/
- 理塘丁真珍珠/大冰/谭维维/谢霆锋/王立轩/
- 更新HD阿莱西·瓦塞尔/亚当·戈德堡/托马斯·米德蒂奇/马里奥·坎通/艾农·斯凯/杰克·基默/迈克尔·潘斯/鲁比·麦考利斯特/Dion/Costelloe/Merlot/
- 更新HD小田切让/松隆子/满岛光/高石明里/高桥文哉/森山直太朗/光石研/
- 更新HD瑞舍布·谢蒂/Sapthami/Gowda/阿丘特·库马尔/Manasi/Sudhir/Shine/Shetty/
- 正片Satine/Zaneta/Marthino/Lio/Niken/Anjani/
- 正片莱昂纳多·迪卡普里奥/凯特·温斯莱特/比利·赞恩/凯西·贝茨/弗兰西丝·费舍/格劳瑞亚·斯图尔特/比尔·帕克斯顿/伯纳德·希尔/大卫·沃纳/维克多·加博/
- 正片莱昂纳多·迪卡普里奥/凯特·温斯莱特/比利·赞恩/凯西·贝茨/弗兰西丝·费舍/格劳瑞亚·斯图尔特/比尔·帕克斯顿/伯纳德·希尔/大卫·沃纳/维克多·加博/乔纳森·海德/
- 正片未知
- 正片卡莉斯塔·弗洛克哈特/理查德·劳斯伯格/埃伦娜·安纳亚/
- 正片贝托·库西亚伊/Nabila/Huda/Syafie/Naswip/雅彦·鲁伊安/陈沛江/武田裕光/Shannon/Wiratchai/Ebby/Saiful/Nasir/Jani/Wan/Raja/Anas/Ridzuan/Shah/Kimin/
- 正片xXx: Return of Xander Cage/
- 更新HD阿莉拉·马斯楚安尼/Renee/Gagner/Jack/Alberts/Marianne/Goodell/Tommy/Kang/马西娅·德波尼斯/Luis/Arroyo/Jr./杰瑞特·奥斯汀·布朗/Mitchell/Cetuk/Jeremy/Cohen/Franky/Huerta/Laris/Macario/艾玛·皮尔森/安妮·比萨比亚/格兰特·舒马赫/Wadiah/Waliah/Sheilagh/Weymouth/LeJon/Woods/
- 正片正片李宰旭/崔成恩/安桐丘/郑宝美/
- 正片Ginny/Natnicha/Pratipnatsiri/Jayna/Angelina/Stevens/谭雅缇·塔微辛塔纳/Renée/Veronica/Pagano/
- 更新HDTS艾玛·斯通/杰西·普莱蒙/艾丹·德尔比思/斯塔夫罗斯·哈尔基阿斯/艾丽西亚·希尔维斯通/帕文德·谢尔吉尔/瓦妮莎·恩格/亚伊萨/塞德里克·迪莫尔内/马克·T·刘易斯/莫玛·切瑞/卡门·加林德斯·巴雷拉/罗杰·卡瓦略/
- 正片德蒙特·莫罗尼/肖恩·派特里克·弗兰纳里/谢拉·麦克康米克/杰森·缪斯/马丁·科夫/杰克·布塞/弗伦奇·斯图尔特/杰西·科夫/金·惠特利/约翰·勒尔/Benjamin/Hardy/艾丽莎·菲利普斯/格雷厄姆·沃尔夫/安迪·普罗斯基/Onie/Maceo/Watlington/贾陶恩·吉尔伯特/Katie/Killacky/Michelle/Gardner/
- 更新HD阿尔维托·阿曼/娜塔莉亚·欧瑞洛/Mora/Recalde/