关于在短时间内的某几个人的经过 Sur le passage de quelques personnes à travers une assez courte unité de temps (1959)

Name: 关于在短时间内的某几个人的经过 Sur le passage de quelques personnes à travers une assez courte unité de temps
Genre: 短片
Duration: 19 min
Rating: 7.9
Cast: 居伊·德波 Guy Debord

导演: 居伊·德波
编剧: 居伊·德波
类型: 短片
制片国家/地区: 法国
语言: 法语
上映日期: 1959
片长: 19分钟
IMDb: tt0481910

豆瓣评分

7.9

337人评价

5星

29.3%

4星

39.8%

3星

27.3%

2星

2.3%

1星

1.2%

想看看过

评价:

关于在短时间内的某几个人的经过的剧情简介 · · · · · ·

　　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 ques... (展开全部) 　　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.

喜欢这部电影的人也喜欢 · · · · · ·

: 分离批判 8.0

: 驳斥所有对电影《景观社会》... 7.1

: Ingenivm Nobis Ipsa Pvella ...

: 威胁的眼

: 影像日记：父亲

: 夜间音乐 7.9

: 翻绳作戏 7.9

: 016643225059

: 我的父亲100岁了 7.9

: 蓝眼睛的圣诞老人 7.7

我要写短评

关于在短时间内的某几个人的经过的短评 · · · · · · ( 全部 68 条 )

7 有用小船儿轻轻看过 2020-04-07 09:55:04

Ils ne voyaient pas l'insuffisance de leur ville, ils croyaient naturel l'insuffisance de leur vie. 对正在构思的confinement的短片很有启发，人们相信城市的完备，人们理所当然地接受生命所有的缺失。可当你被禁足在家时，城市拼图已经解体，这时才会慢慢发现生活里真正缺少了什么，有什么属于城市的东西... Ils ne voyaient pas l'insuffisance de leur ville, ils croyaient naturel l'insuffisance de leur vie. 对正在构思的confinement的短片很有启发，人们相信城市的完备，人们理所当然地接受生命所有的缺失。可当你被禁足在家时，城市拼图已经解体，这时才会慢慢发现生活里真正缺少了什么，有什么属于城市的东西也因此慢慢冗余出来了。——而这种可能的理想状态下的反思，在21世纪被互联网搁置了。 (展开)

1 有用持人的摄影机看过 2023-08-31 11:32:02 广东

对影像与现实时事的各种思考。影片通过旁白、画面/白屏、画面内的声音、运镜、剪辑互相之间的「对位」（类似声画对位那样）谱写了一种超越理性的、完全旋律化的诗意（具体来说：一种meditative中带着些许激情【文本上契合导演带着热忱的各种沉思】的优美诗意）。但本片有些地方叙事脉络太具体，有些地方却又抽象地如同后期戈达尔电影，这种拼凑导致影片“四不像”，一会儿信息过载一会儿不知所云。

2 有用丁一看过 2013-05-19 15:37:20

裸看费解，撸过费纸

4 有用灰狼看过 2017-04-02 13:03:49

为了共产主义的最终实现，电影必须被消灭

2 有用蓝色的汉堡看过 2015-09-04 01:27:27

But what does it matter to us if one more art is liberated to the point that Tom,Dick or Harry can use it to complacently express their servile sentiments?

> 更多短评 68条

你关注的人还没写过短评

我要写影评

关于在短时间内的某几个人的经过的影评 · · · · · · ( 全部 3 条 )

《关于在短时间内的某几个人的经过》：电影必须被销毁

原文地址： http://www.qh505.com/blog/post/4986.html 肥皂是洁白的，裸体的女孩是洁白的，房间是洁白的，于是电影也是洁白的。这是纪录片的最后一个镜头，当这个女人抚摸肥皂露出暧昧笑容的时候，她展示了什么，或者说电影展示了什么？是生活的美好，是欲望的纯净，还是产品... (展开)