剧情简介
《关于在?:短时+/\)间内的某几个人的经过》讲述的是什么故事？
《关于在?:短时+/\)间内的某几个人的经过》Vo) ^_-i$?`ce 1 (male pr?o``.f$e*^ ssional announcer type\:)( Th(#is neighborhood(]^^1@)) was mad: e f, .=or t ?!he wretc!hed ?d)^ +ignity$^ of the petty ! bou(/= rgeoisie, for r+ espectable $o=ccup !ation@ s and intellectua/=]_l t?! ourism. The sedentary po :pu)]la:tion of th*?e upper floors wa$^s she ;lt( ered from t -he influences ^? of the street. =._This ne i%ghborhood. (=ha) @s rem ained-# th[ e same. It was /, the stra /__nge sett%+/ing , :/of our ?`)$`story, where a sy#stema%t+ ic quest/:io((ning of /,@,all the diver $sions [ and ^wo+rks of +$a so(! ])ciety, *a tota $?l critique of` its id / ,ea)+; $#of happiness , w((.a, s )[ expressed in acts.= These people also scorned( sub# j :ect)\ive profu,: (n[ dity* ^. They were intere s::/ted in nothing; / bu )!t !:an adequat;@e a(:?nd $/;`concrete exp=%re-.ssi:// on o? f ]themselves. _?Vo*.#ice 2 (@,#Debord, m ,on$]?:otone) Human bein=(gs are not fully consc!!ious of their# real li] fe - us`_-ua lly] grop^, ing /.:in the d !ark !; overwhel [med by t\he conseq%*uences \,of ;(th%/\,eir a\,ct,$\s; at eve#ry\( mo ment= . groups /-]);and (@#.individua ]ls fin#\d themselves confronte @d`_ with resu:+lts they have not wi \\*shed. Voice 1 They said that oblivion) was their ruling /passion. They wa nted to( r^einv ent ever#-ythi#ng (^!e%@(a?!c:*h day; to bec= o[!me the masters and possessors of their own live%.#,s. Jus/) t as one /^does .?n @ot j=/@udge @[a man accor\/di^_ng to the c;*+onception he has of h )imsel-%f, on( e cannot judge such periods of(. tr ) ansit+ion ! accordi_ng to t$heir *+ow n /consc+iousness; on t -+[he =contrary, o![ne must explai-n ![-;the consc#%iousness throug(+h the c-`ontradictions of:?-(] m( aterial($ life, th^roug-h the conflict between %[social co?@nditions a?#nd the ]forces of s[+,o)= c ial%@ pr[\ -oducti$# on. =*The progr`ess ,*achieved in_#@ the % dominati@on of nature$( ;was not ye(t match\=ed by@` a corr` $)espo nding lib +eration o, f .e*%#veryday/ life. Youth passed a/ )way among the various c\+on)=trols of r:\esig+nati :?o)`n. Our camera has captured =:;for you a fe. =w a -sp_ect]!s of a pr^/ o$]visi o +\,.na l mic.roso[#cie)ty. The knowled !)$g !e of !+)empiri=[cal / facts @[rem :a )ins a_#bstract and superf\@icial a)s lo* .ng as i )!(?t is not?_ concr*etized b !y] `*its * integrat @=-ion i(-nto*$+ the whol ;e ” =which /=alone per`mit^$?s the.-* sup@/,erse ss[,ion of par #_tial and abstr^-a* c[_ t % prob`lem**s(+) so as to a- rrive a].t their concre?)te ess+e@nce, and i!mplici]t@ !ly[ at [ th eir me(+(ani@ng. This .:grou:p was on the margins of t @_he eco !nomy. It tended toward a ,%role of pure con\!]]sumptio@n;, and first/ of_ all the free consump[tio?n of $ it_s time. It thus +fo .- un,^*d itself di-rectly en#gage=d in ? %qualita /tive variations o ^f everyday life but depr(*ived of !any m /eans to i - $nter_ %^-v(=ene in - them.$ The) . group ra- nged over a ve%) ry sma#ll area. The same times brought them back to the:/ same places. No /^one wen\][t to ^bed early. ! Di$s);=cussion on the mean!@ing of all this continued.._). Voice 2 Our life is a journ ^ey ” In the winter a_ n/d the night. ”_.^ We seek our pa]@s[sage...� ;= Vo@?i%/ ce 1 The abandoned literature!@ !(nevertheless exe,@(rted a d%elayin\g acti :o =,n ;on \new af= fec (*.;tive formulat``^ i^/ons. Voice 2 Ther*[e was the# ) \f[*a `tigue # and t/he cold of the morn+,`ing in this much-tr%(* [av.$ ersed l!)*abyr[int*-^%h, like an enigma +]]@that we had];? to resolve. It w as a looking-gl\ ass reality through which)# we had t(! [o dis_. cover the potent ial richne.ss $ o!f re^al-ity. On^$ @ t .he) ?b() ank of the rive+ r evening began once aga]-`in; / and car _?-ess`=es? ; and the im-`;.*por;t%ance of a *;worl! d w + ith_o#^#ut im-.port ance.-;@ Just as the =[eyes have a blurred vision of = many th;i(!]ngs a] )nd can /^see ]*onl!#y on=e- #!@clearly, so. the $w ?ill ; can st/ rive on l#,y incomple._tely towar$)[ `d diverse objects and/: can _, [completel$y (love)= only o@n\ e at a ti $ me. Voi /ce 3 (youn\ (g g i ?!r(/l) No on=e cou nted on the? future#). It?_ wo \u`\ld never be possible t` o be toget!her later, %;o /%r anywhere el*_se. T$%her/.)e woul?(d never be a; g $? re ^-:ater freedom,. Voice 1 The ref _,usal of[ time and of growing old ``au /,tomatic]=a .^lly@*, l imited , e(, nco=u.`(nters in ]this)#* narrow, co)+%ntingent zo=^-ne, where wha:@t was l* acki_ng *]:was fel_t )as ir;!?,reparable. !(Th;?@,e extreme preca[!)ri .ousness o^ ;f the @m.ea[ns$:$ of getting / by witho (:ut +(working w;@as at%+ +the` root of -)this # imp) atien! c?e wh=%ich m %ade e@ %x_cesses necess /ary a(\#nd breaks definitive. $` Voice 2 One never really contests an o:rganization ^.!of ex?$i ` s -tence witho$ ut con! test]*i]_/ng all of t+hat organiz:ation's (^ forms of l_^anguag/e. #`Voic e 1 Whe] @n /_ freedom is p[ )ractic\* ed in a closed circ(le#.., it fades into %@ a dream , becomes a mere repre:sentation of* itself. The) ambianc*+e [, o $=f play \_ is_ by nat- ure un /stable. At any moment or!din!*%!ary=, li][fe ,?^� can prev@ ( ai]l on `ce aga@(in. +The geographica^-l+] li /mit ati (on of play i ;s even m)ore strik/)i ng than its t?emporal /?%$l@ ,)imitation. Any ga?m[(e takes pla c+ e with= in / +th )e c\ontou @rs of its s-.!pati ^ al domai +n. Ar] ?ou !^nd the neighborhood, ;*]#ar]ound its fle.\et%^ing and* thr$!eatene (d immobility, stre.-tched \a h^ alf-know.* n ci-( ty where pe =opl .e me[t only@ -+by ch;ance, losin g t=:h ![e ir way #forev_er.. The girls who; #fo [[un`_d their way there, beca#/$^use they were legally und@#er t% he [control o:% -f thei $@r %fam `ilies until (the- ! ,=-=age :of eight+#ee_]n, we@ r$e oft#_en-) re cap+ t*$ured by the \ defen $de_@rs of th% at detestabl +.e i;nstitu/%]tion. T=hey $/w er #e generally confined u,nder the guard`/; of those , c?r ea tures wh/ o among all t%/he bad . ]products of a b ad s%+ociety are th@?e most ugly and repugna]^nt) ` nuns. What+ usually makes d?)oc [/u=-^, mentari? es so easy.)) to understand is the arbitrary l];imitat(-ion, of their subjec* =t matter. -%(They de?scribe the atomizat /io=n# of so$c:%]$ial f]unctions @!.!and the (iso [*la#;tion of their products. One can, !:in] contrast, e _#nvisa. %ge t,= h%/e.\ entire complexity .*-of a :-!mom]%[ent whic* )h*(@ is not resolved into a wo/%]r %.*k +, a moment whose( m*:ove / *ment [)ind@ issolub^/ly cont !ai n s f+a_ c! ts a;nd :-value`#+s and who@ se mean . ing does] not yet,_ appe];ar. The $:\subje;] ct\ matt er? of[ * the -`document]ary wou;l ._d then be this + confused totality. #Vo [ice (2 The era had arrived at a level of ..kno(-.(w=\ledge and technical mea ns $)th at mad(e possi+ ble, and increasin?gly (necessa+)ry, a @direc=t construction of_.* all ) ; aspects of a libe@r/ ated `;affective -,and ;practical exis)tence. The appearan =#ce of these superior me^ ans ?of act+ .ion, [[still unused?_ bec ,ause of the delay,\s in the ^%project of )_liquidating the c*ommodity econ?omy,_: had a[ ;lready cond!) emned aest]`heti +c ac[[tivity, wh .!ose ambitions %and powers w%;+e,re b oth -,outdated*/$. The * decay of art and o f_ all the v` alues o=f fo$= rmer mores ha`+,d formed our s.ocio lo]gical backgro, u ` n d. The ruli,;(ng class's ;?m% onopoly over t_-he .ins($\t (ruments we neede `;d to control in o+^)rder to reali\]ze)]* t^he coll.*;ective @/ar?#t of our ,@*time :had e?\\xclude- +d us from a cultur; al (^(]production o*.).ffici!all %y\+ # devo.:`ted to illust;`ratin.g and r- \epeati\.^ng the past. An art film on this $]generation ca;#n! only [*be a ; film@ * on its[ % absence o@ f real creations. E ; veryo],ne unthin [ kingly fo^ll%owed the *] paths lea ]=r \n[e ($d once and for all, to th),eir work a@nd t heir;\: home, to the . *ir :=predic` !table future!)]. Fo[ r[!$ them duty had alread y becom,e a habi= ]t, %;an d habit a -/ du ) ty. Th $#ey d( i%@)d % not se$%!e the : defic-\ienc y of t%:heir city_(. They though*:+t the de ficiency #of* thei@r l[\ife was natural. We want]e*$ d t`o)#_ break;.; out of this con[-dit_`=ion=*ing, in que- st of; (another use of the urban lands$,# #cape, in qu- est o!.f new passio +)ns. The atmosphere; of a few pla[( $ ce [s gave us intimations o=:-^,f the!@# future p/$owers =. of ? a/`n architectur%?e it w. oul==d be nece-,ssary to cre_%%ate to b\#(e th- e( + support and frame_?w^;* [ork for less_ [ mediocre ga m) ._es. We co: uld expect noth]in,g* of anyth[ ,ing we .] had not ou \r sel= v ? es alt^ )!^er/ ^ed. The urban envir/o( nment proclaimed the order s and tastes )`of the rulin+;:[g s(ociet ?y, just as violent.ly as +%the% n!ewsp^a@!*pers. It is m:an who m@ /akes t )he unity o_ f the world, but* man ha$-s- e/\xtended himsel,^]f everywhere.` People ca n \ s ee no ?thi)ng aro:= u nd @them tha!(t is not thei ..r own image; everything speaks %[to them of t_h+ @emselves. Their [very la[n?!ds^+cape is aliv/e._$ @ There were[ obstac-,les+ everywhe/*]re. There was a ^%cohesion + ?:in the obstacl[-es!- of all types. T#! h;ey= mai .$ntained t*!he cohe;@):re@/^!nt reign of po==,v /(erty. Ev!(*erything.# #\/]being con =:`nect^$ed, it was necessary t+-^o :^]!change e@[very*^/thin=@g _ ?by a] unitary stru-;ggle, . or! nothing. \+#It was nec +essary to //link up with t][ /h ]e masses,#;* but we ^we:\ #re sur;@rou) nde]?d b$^/y sl.;eep. V`-oice 3 _The / d@ ictatorsh:i p of th?!e +#;pro_le taria, t /i%s a desperate struggle, $_blo,;=ody and bl, oodless\[, violent and peacefu !.l, m`` ilitary and ec onomic, ed\ucat ional and / ;;admini* strative, a ?gai-%%n,st the forces ?-an+d t!@ radit.*$ions `# of the `o_l !d. wo-^ rl@d.,_ Vo @ /ic/,%#e 1 In this,; country it @ $is on*!ce @a- gain the men of order who h;//ave reb= #+ell\_ed. They have?^ rein`forced their pow\?:/er@. They ha _ ve been@_ [ a;)[ble to aggravate the=: g!+() r[/o! \tesqueness of the ruli #ng /-=!conditions )-+according to their will. The_.y have embel_lished., their system with the fu#_nere] al c +er=$emonie?:s of the past. Voice 2 Years,/+ like a sing/ le in*stant prolonged to ) this p[ o;int,[[= come to an e/ nd. Voice 1 Wha t was direc_ tl @y lived reappears+ @(frozen in the dista=#nce, ;^.fit into the tastes $ and illu/$ _?sions of ]an era, carried = %#away $`!with:+ it. ;:_Voi ce 2 The\_ appearance of ev: en##ts that we have (,not ma , %de- , that =?)ot h\.;ers ha#ve ma@de again!/st us *, #now(?\ ob. +liges us to be aware of the p assage of ^]time, its$ re @(sults, t) he transformat+%ion of *;:our ` own des i`res_ int?]o events. What diffe!=`rent%^iat@)%e s th ^e past from the ]$ p [@;resent is precisely it,s out-of-reac +h\/ objec#)t@i(vit +y; the )r.e is no more $should-be; being@ is +so co nsum\ed tha t it has ceased to exist. The details are already +%lo / *st in th e dust of time. Who .\was afraid of life+^^, afraid \ ]+of the night, (, afraid =o,[f being?# taken, afraid of being kept @ Voice 3 Wh[_at shoul[d ; be , `abo.lis$hed continues, an^d w)-e contin ue t_o: w[ear aw;ay with %.it. We are engulfed. We are separated. The /ye; #ars `)pas s(# and we$= haven't change* ,d a]+nyth?+ing. Voice 2 On=ce ,again (.; ,m` orning in the same streets. On :_ce*? a?_gain the! fatigue of*. =- so@ many simi-:larly , pa %s% sed nig#_h@ +!t s. It`+. is % a w+alk[ that/, h%\a s ^lasted a_ @long time`. (+ Vo ice #!1 Really hard to. d-_rink more. Voice+ 2 Of course$= one might make,] a_?%? f_-ilm of it. + But even if s- ^uch a film su]cc: (eeds in being as%*?` fu `$nda! [ment ally disconnected ^ and un[satisfying as ( th#e real *it _y%;\ it dea\:ls with, it will never*\^ b e]% more t_,han a re*?-; creation ” po ?!or and \f!`alse @\l/ _ike this botch !ed traveli @n!^g:\ shot. Voice @_3 , ./There are now people\#* wh+ `o ^pride t #hemselve)=@s / o n/- b:!(e`\ing authors of films/*+, as, ,others were authors _o!f novels. They a\[+re (=even mo$] re %]backward ./tha( n th.e novelist# s because ;@they are unaware o _ f ^ +th%#e .(d ecomp!-osition and exh au! stion of * ?ind ividua:l ex\:_pressi^!on in our tim^*e/, ign#]ora%;nt of the ( end of the arts of /pass /ivi = ty.^ They are = prai se)#d for t )heir si ,n\-`cerit(y sinc$e `:` they dramatize, with#,+; more per?sonal de pth, th e convention @ s of % which their life consist-.s@ \. Th ere is tal=-(^k; of : the .;lib eration of the cinema. But what does it _)matter t;#\ o us if one mor(%e art is ))liberat[`-ed th +rough which Tom, Dick or Harr_ y ca[n joyously ex,`pr=( ess the.i/ ,r slavish (/s* entiment!\ $s The on\%ly int)ere)sting vent =ure is the l.\.iberation of ^ ;#)everyd ay life, not* only/_ in th \*e p??\?_erspectives #/o# %f /$h!% istory but f$or us a=nd righ$[[t away. T/$+!his en![tails =th)##@e #!.--withering away of alienated forms of communica.. t` ion(. The cin,-e-ma, to^!o, @\;has to \ be d?estroyed. V oice 2 In t[he#@ final analys,=(is,] s tars are created by t?%-he need we have for them, and n+ot by, their talen :t or lack of talen t or even );%by the_ !fi( ^lm i ,ndust ;.ry or advertising. ^#Miserable nee!% d, dismal,/@] anonymo@us life tha. t @ would like to ex-@pa-\_ nd i] ts e lf to the dime+ nsions# of/ \ cine ma li*f #]e. The %;imagi *nary life on the screen)# ^ is- the pro;;duct o+f this real need. The star is t\*;he pro je[ ction of this nee d. #( The im%ages of the adve[r+tise m[`?]ent@s, dur *]ing the in;termission/s are mo- re^ su ; +ited ,$ t han -*%any others =_for evoking an in =termission of, l% ife. To %/really d esc`/ribe this * era it woul] ** d no doubt be necessary t__@ o show many other[ things. But what would *be the po/ i^nt Better to grasp the totality o=f what has been done and what re*+main =s= to be d-^!one than to *@add more ru ins to t(,)he old world o^f % ??the )spectacle #and ^of memories+% .? #@1. This film, :#^ !whic`=h ev$)[okes the lettrist e*[_xperienc!e\:#s at)^)= the^(, o /rigin of the situationist moveme))nt, _`opens with shots of the Paris [ district frequ+ ented by the lettrists in the e*arly,) 1950s.
一、《关于在?:短时+/\)间内的某几个人的经过》是哪一年上映的？
《关于在?:短时+/\)间内的某几个人的经过》是居伊·德波于1959年拍摄的一部经典剧情片。此片开创法国当代剧情片的先河，《关于在?:短时+/\)间内的某几个人的经过》上映时票房稳坐前三，创下当年纪录。当时均为最佳主角，以精彩演技和突出形象，奠定在法国影坛地位。饰演角色造型多年后仍为人所模仿。居伊·德波之前曾被人怀疑其能力，而《关于在?:短时+/\)间内的某几个人的经过》却奠定居伊·德波剧情片风格。《关于在?:短时+/\)间内的某几个人的经过》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1959年代）法国（法国）优秀剧情片齐名。
二、被称为剧情片的开先河之作的《关于在?:短时+/\)间内的某几个人的经过》，是居伊·德波最好的作品吗?
从居伊·德波斩获剧情片最佳导演 我就觉得这部《关于在?:短时+/\)间内的某几个人的经过》是他最好的剧情片。虽然居伊·德波后来还拍出来了评价特别好的剧情片，但是《关于在?:短时+/\)间内的某几个人的经过》是他剧情片的代表作品。
三、《关于在?:短时+/\)间内的某几个人的经过》为什么可以成为经典？
提起法国，人们就肯定会说出《关于在?:短时+/\)间内的某几个人的经过》的名字。这部由居伊·德波导演，主演的《关于在?:短时+/\)间内的某几个人的经过》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。为何会这么说，我想，就连居伊·德波导演和，都没想到这部剧情片会得到这样好的反响。居伊·德波先生曾说过，这是一群失意的人凑到了一起创作出来的一部作品。因为在《关于在?:短时+/\)间内的某几个人的经过》开拍之前，已经有几年年无戏可拍，而主演的剧情片，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在剧情片中投入的热情，是我们难以想象的，其实《关于在?:短时+/\)间内的某几个人的经过》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典剧情片，也成就了他们自己！
四、如何评价《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》口碑非常好深受广大观众喜爱，《关于在?:短时+/\)间内的某几个人的经过》一经播放立刻引来无数人点赞，不仅演的好而且该剧情片故事情节也非常紧凑，星空影院（msdts.com）观看起来特别流畅同时还能扣人心弦，虽然目前《关于在?:短时+/\)间内的某几个人的经过》收视率一般但是该片目前受欢迎程度已经名列前茅。该剧情片主演，她在该剧情片中的演技可圈可点，受到演的好而且该剧情片迷的认可。
五、《关于在?:短时+/\)间内的某几个人的经过》剧情片的主要内容
《关于在?:短时+/\)间内的某几个人的经过》是一部剧情片剧情片，由导演：居伊·德波执导，主演：
《关于在?:短时+/\)间内的某几个人的经过》Vo) ^_-i$?`ce 1 (male pr?o``.f$e*^ ssional announcer type\:)( Th(#is neighborhood(]^^1@)) was mad: e f, .=or t ?!he wretc!hed ?d)^ +ignity$^ of the petty ! bou(/= rgeoisie, for r+ espectable $o=ccup !ation@ s and intellectua/=]_l t?! ourism. The sedentary po :pu)]la:tion of th*?e upper floors wa$^s she ;lt( ered from t -he influences ^? of the street. =._This ne i%ghborhood. (=ha) @s rem ained-# th[ e same. It was /, the stra /__nge sett%+/ing , :/of our ?`)$`story, where a sy#stema%t+ ic quest/:io((ning of /,@,all the diver $sions [ and ^wo+rks of +$a so(! ])ciety, *a tota $?l critique of` its id / ,ea)+; $#of happiness , w((.a, s )[ expressed in acts.= These people also scorned( sub# j :ect)\ive profu,: (n[ dity* ^. They were intere s::/ted in nothing; / bu )!t !:an adequat;@e a(:?nd $/;`concrete exp=%re-.ssi:// on o? f ]themselves. _?Vo*.#ice 2 (@,#Debord, m ,on$]?:otone) Human bein=(gs are not fully consc!!ious of their# real li] fe - us`_-ua lly] grop^, ing /.:in the d !ark !; overwhel [med by t\he conseq%*uences \,of ;(th%/\,eir a\,ct,$\s; at eve#ry\( mo ment= . groups /-]);and (@#.individua ]ls fin#\d themselves confronte @d`_ with resu:+lts they have not wi \\*shed. Voice 1 They said that oblivion) was their ruling /passion. They wa nted to( r^einv ent ever#-ythi#ng (^!e%@(a?!c:*h day; to bec= o[!me the masters and possessors of their own live%.#,s. Jus/) t as one /^does .?n @ot j=/@udge @[a man accor\/di^_ng to the c;*+onception he has of h )imsel-%f, on( e cannot judge such periods of(. tr ) ansit+ion ! accordi_ng to t$heir *+ow n /consc+iousness; on t -+[he =contrary, o![ne must explai-n ![-;the consc#%iousness throug(+h the c-`ontradictions of:?-(] m( aterial($ life, th^roug-h the conflict between %[social co?@nditions a?#nd the ]forces of s[+,o)= c ial%@ pr[\ -oducti$# on. =*The progr`ess ,*achieved in_#@ the % dominati@on of nature$( ;was not ye(t match\=ed by@` a corr` $)espo nding lib +eration o, f .e*%#veryday/ life. Youth passed a/ )way among the various c\+on)=trols of r:\esig+nati :?o)`n. Our camera has captured =:;for you a fe. =w a -sp_ect]!s of a pr^/ o$]visi o +\,.na l mic.roso[#cie)ty. The knowled !)$g !e of !+)empiri=[cal / facts @[rem :a )ins a_#bstract and superf\@icial a)s lo* .ng as i )!(?t is not?_ concr*etized b !y] `*its * integrat @=-ion i(-nto*$+ the whol ;e ” =which /=alone per`mit^$?s the.-* sup@/,erse ss[,ion of par #_tial and abstr^-a* c[_ t % prob`lem**s(+) so as to a- rrive a].t their concre?)te ess+e@nce, and i!mplici]t@ !ly[ at [ th eir me(+(ani@ng. This .:grou:p was on the margins of t @_he eco !nomy. It tended toward a ,%role of pure con\!]]sumptio@n;, and first/ of_ all the free consump[tio?n of $ it_s time. It thus +fo .- un,^*d itself di-rectly en#gage=d in ? %qualita /tive variations o ^f everyday life but depr(*ived of !any m /eans to i - $nter_ %^-v(=ene in - them.$ The) . group ra- nged over a ve%) ry sma#ll area. The same times brought them back to the:/ same places. No /^one wen\][t to ^bed early. ! Di$s);=cussion on the mean!@ing of all this continued.._). Voice 2 Our life is a journ ^ey ” In the winter a_ n/d the night. ”_.^ We seek our pa]@s[sage...� ;= Vo@?i%/ ce 1 The abandoned literature!@ !(nevertheless exe,@(rted a d%elayin\g acti :o =,n ;on \new af= fec (*.;tive formulat``^ i^/ons. Voice 2 Ther*[e was the# ) \f[*a `tigue # and t/he cold of the morn+,`ing in this much-tr%(* [av.$ ersed l!)*abyr[int*-^%h, like an enigma +]]@that we had];? to resolve. It w as a looking-gl\ ass reality through which)# we had t(! [o dis_. cover the potent ial richne.ss $ o!f re^al-ity. On^$ @ t .he) ?b() ank of the rive+ r evening began once aga]-`in; / and car _?-ess`=es? ; and the im-`;.*por;t%ance of a *;worl! d w + ith_o#^#ut im-.port ance.-;@ Just as the =[eyes have a blurred vision of = many th;i(!]ngs a] )nd can /^see ]*onl!#y on=e- #!@clearly, so. the $w ?ill ; can st/ rive on l#,y incomple._tely towar$)[ `d diverse objects and/: can _, [completel$y (love)= only o@n\ e at a ti $ me. Voi /ce 3 (youn\ (g g i ?!r(/l) No on=e cou nted on the? future#). It?_ wo \u`\ld never be possible t` o be toget!her later, %;o /%r anywhere el*_se. T$%her/.)e woul?(d never be a; g $? re ^-:ater freedom,. Voice 1 The ref _,usal of[ time and of growing old ``au /,tomatic]=a .^lly@*, l imited , e(, nco=u.`(nters in ]this)#* narrow, co)+%ntingent zo=^-ne, where wha:@t was l* acki_ng *]:was fel_t )as ir;!?,reparable. !(Th;?@,e extreme preca[!)ri .ousness o^ ;f the @m.ea[ns$:$ of getting / by witho (:ut +(working w;@as at%+ +the` root of -)this # imp) atien! c?e wh=%ich m %ade e@ %x_cesses necess /ary a(\#nd breaks definitive. $` Voice 2 One never really contests an o:rganization ^.!of ex?$i ` s -tence witho$ ut con! test]*i]_/ng all of t+hat organiz:ation's (^ forms of l_^anguag/e. #`Voic e 1 Whe] @n /_ freedom is p[ )ractic\* ed in a closed circ(le#.., it fades into %@ a dream , becomes a mere repre:sentation of* itself. The) ambianc*+e [, o $=f play \_ is_ by nat- ure un /stable. At any moment or!din!*%!ary=, li][fe ,?^� can prev@ ( ai]l on `ce aga@(in. +The geographica^-l+] li /mit ati (on of play i ;s even m)ore strik/)i ng than its t?emporal /?%$l@ ,)imitation. Any ga?m[(e takes pla c+ e with= in / +th )e c\ontou @rs of its s-.!pati ^ al domai +n. Ar] ?ou !^nd the neighborhood, ;*]#ar]ound its fle.\et%^ing and* thr$!eatene (d immobility, stre.-tched \a h^ alf-know.* n ci-( ty where pe =opl .e me[t only@ -+by ch;ance, losin g t=:h ![e ir way #forev_er.. The girls who; #fo [[un`_d their way there, beca#/$^use they were legally und@#er t% he [control o:% -f thei $@r %fam `ilies until (the- ! ,=-=age :of eight+#ee_]n, we@ r$e oft#_en-) re cap+ t*$ured by the \ defen $de_@rs of th% at detestabl +.e i;nstitu/%]tion. T=hey $/w er #e generally confined u,nder the guard`/; of those , c?r ea tures wh/ o among all t%/he bad . ]products of a b ad s%+ociety are th@?e most ugly and repugna]^nt) ` nuns. What+ usually makes d?)oc [/u=-^, mentari? es so easy.)) to understand is the arbitrary l];imitat(-ion, of their subjec* =t matter. -%(They de?scribe the atomizat /io=n# of so$c:%]$ial f]unctions @!.!and the (iso [*la#;tion of their products. One can, !:in] contrast, e _#nvisa. %ge t,= h%/e.\ entire complexity .*-of a :-!mom]%[ent whic* )h*(@ is not resolved into a wo/%]r %.*k +, a moment whose( m*:ove / *ment [)ind@ issolub^/ly cont !ai n s f+a_ c! ts a;nd :-value`#+s and who@ se mean . ing does] not yet,_ appe];ar. The $:\subje;] ct\ matt er? of[ * the -`document]ary wou;l ._d then be this + confused totality. #Vo [ice (2 The era had arrived at a level of ..kno(-.(w=\ledge and technical mea ns $)th at mad(e possi+ ble, and increasin?gly (necessa+)ry, a @direc=t construction of_.* all ) ; aspects of a libe@r/ ated `;affective -,and ;practical exis)tence. The appearan =#ce of these superior me^ ans ?of act+ .ion, [[still unused?_ bec ,ause of the delay,\s in the ^%project of )_liquidating the c*ommodity econ?omy,_: had a[ ;lready cond!) emned aest]`heti +c ac[[tivity, wh .!ose ambitions %and powers w%;+e,re b oth -,outdated*/$. The * decay of art and o f_ all the v` alues o=f fo$= rmer mores ha`+,d formed our s.ocio lo]gical backgro, u ` n d. The ruli,;(ng class's ;?m% onopoly over t_-he .ins($\t (ruments we neede `;d to control in o+^)rder to reali\]ze)]* t^he coll.*;ective @/ar?#t of our ,@*time :had e?\\xclude- +d us from a cultur; al (^(]production o*.).ffici!all %y\+ # devo.:`ted to illust;`ratin.g and r- \epeati\.^ng the past. An art film on this $]generation ca;#n! only [*be a ; film@ * on its[ % absence o@ f real creations. E ; veryo],ne unthin [ kingly fo^ll%owed the *] paths lea ]=r \n[e ($d once and for all, to th),eir work a@nd t heir;\: home, to the . *ir :=predic` !table future!)]. Fo[ r[!$ them duty had alread y becom,e a habi= ]t, %;an d habit a -/ du ) ty. Th $#ey d( i%@)d % not se$%!e the : defic-\ienc y of t%:heir city_(. They though*:+t the de ficiency #of* thei@r l[\ife was natural. We want]e*$ d t`o)#_ break;.; out of this con[-dit_`=ion=*ing, in que- st of; (another use of the urban lands$,# #cape, in qu- est o!.f new passio +)ns. The atmosphere; of a few pla[( $ ce [s gave us intimations o=:-^,f the!@# future p/$owers =. of ? a/`n architectur%?e it w. oul==d be nece-,ssary to cre_%%ate to b\#(e th- e( + support and frame_?w^;* [ork for less_ [ mediocre ga m) ._es. We co: uld expect noth]in,g* of anyth[ ,ing we .] had not ou \r sel= v ? es alt^ )!^er/ ^ed. The urban envir/o( nment proclaimed the order s and tastes )`of the rulin+;:[g s(ociet ?y, just as violent.ly as +%the% n!ewsp^a@!*pers. It is m:an who m@ /akes t )he unity o_ f the world, but* man ha$-s- e/\xtended himsel,^]f everywhere.` People ca n \ s ee no ?thi)ng aro:= u nd @them tha!(t is not thei ..r own image; everything speaks %[to them of t_h+ @emselves. Their [very la[n?!ds^+cape is aliv/e._$ @ There were[ obstac-,les+ everywhe/*]re. There was a ^%cohesion + ?:in the obstacl[-es!- of all types. T#! h;ey= mai .$ntained t*!he cohe;@):re@/^!nt reign of po==,v /(erty. Ev!(*erything.# #\/]being con =:`nect^$ed, it was necessary t+-^o :^]!change e@[very*^/thin=@g _ ?by a] unitary stru-;ggle, . or! nothing. \+#It was nec +essary to //link up with t][ /h ]e masses,#;* but we ^we:\ #re sur;@rou) nde]?d b$^/y sl.;eep. V`-oice 3 _The / d@ ictatorsh:i p of th?!e +#;pro_le taria, t /i%s a desperate struggle, $_blo,;=ody and bl, oodless\[, violent and peacefu !.l, m`` ilitary and ec onomic, ed\ucat ional and / ;;admini* strative, a ?gai-%%n,st the forces ?-an+d t!@ radit.*$ions `# of the `o_l !d. wo-^ rl@d.,_ Vo @ /ic/,%#e 1 In this,; country it @ $is on*!ce @a- gain the men of order who h;//ave reb= #+ell\_ed. They have?^ rein`forced their pow\?:/er@. They ha _ ve been@_ [ a;)[ble to aggravate the=: g!+() r[/o! \tesqueness of the ruli #ng /-=!conditions )-+according to their will. The_.y have embel_lished., their system with the fu#_nere] al c +er=$emonie?:s of the past. Voice 2 Years,/+ like a sing/ le in*stant prolonged to ) this p[ o;int,[[= come to an e/ nd. Voice 1 Wha t was direc_ tl @y lived reappears+ @(frozen in the dista=#nce, ;^.fit into the tastes $ and illu/$ _?sions of ]an era, carried = %#away $`!with:+ it. ;:_Voi ce 2 The\_ appearance of ev: en##ts that we have (,not ma , %de- , that =?)ot h\.;ers ha#ve ma@de again!/st us *, #now(?\ ob. +liges us to be aware of the p assage of ^]time, its$ re @(sults, t) he transformat+%ion of *;:our ` own des i`res_ int?]o events. What diffe!=`rent%^iat@)%e s th ^e past from the ]$ p [@;resent is precisely it,s out-of-reac +h\/ objec#)t@i(vit +y; the )r.e is no more $should-be; being@ is +so co nsum\ed tha t it has ceased to exist. The details are already +%lo / *st in th e dust of time. Who .\was afraid of life+^^, afraid \ ]+of the night, (, afraid =o,[f being?# taken, afraid of being kept @ Voice 3 Wh[_at shoul[d ; be , `abo.lis$hed continues, an^d w)-e contin ue t_o: w[ear aw;ay with %.it. We are engulfed. We are separated. The /ye; #ars `)pas s(# and we$= haven't change* ,d a]+nyth?+ing. Voice 2 On=ce ,again (.; ,m` orning in the same streets. On :_ce*? a?_gain the! fatigue of*. =- so@ many simi-:larly , pa %s% sed nig#_h@ +!t s. It`+. is % a w+alk[ that/, h%\a s ^lasted a_ @long time`. (+ Vo ice #!1 Really hard to. d-_rink more. Voice+ 2 Of course$= one might make,] a_?%? f_-ilm of it. + But even if s- ^uch a film su]cc: (eeds in being as%*?` fu `$nda! [ment ally disconnected ^ and un[satisfying as ( th#e real *it _y%;\ it dea\:ls with, it will never*\^ b e]% more t_,han a re*?-; creation ” po ?!or and \f!`alse @\l/ _ike this botch !ed traveli @n!^g:\ shot. Voice @_3 , ./There are now people\#* wh+ `o ^pride t #hemselve)=@s / o n/- b:!(e`\ing authors of films/*+, as, ,others were authors _o!f novels. They a\[+re (=even mo$] re %]backward ./tha( n th.e novelist# s because ;@they are unaware o _ f ^ +th%#e .(d ecomp!-osition and exh au! stion of * ?ind ividua:l ex\:_pressi^!on in our tim^*e/, ign#]ora%;nt of the ( end of the arts of /pass /ivi = ty.^ They are = prai se)#d for t )heir si ,n\-`cerit(y sinc$e `:` they dramatize, with#,+; more per?sonal de pth, th e convention @ s of % which their life consist-.s@ \. Th ere is tal=-(^k; of : the .;lib eration of the cinema. But what does it _)matter t;#\ o us if one mor(%e art is ))liberat[`-ed th +rough which Tom, Dick or Harr_ y ca[n joyously ex,`pr=( ess the.i/ ,r slavish (/s* entiment!\ $s The on\%ly int)ere)sting vent =ure is the l.\.iberation of ^ ;#)everyd ay life, not* only/_ in th \*e p??\?_erspectives #/o# %f /$h!% istory but f$or us a=nd righ$[[t away. T/$+!his en![tails =th)##@e #!.--withering away of alienated forms of communica.. t` ion(. The cin,-e-ma, to^!o, @\;has to \ be d?estroyed. V oice 2 In t[he#@ final analys,=(is,] s tars are created by t?%-he need we have for them, and n+ot by, their talen :t or lack of talen t or even );%by the_ !fi( ^lm i ,ndust ;.ry or advertising. ^#Miserable nee!% d, dismal,/@] anonymo@us life tha. t @ would like to ex-@pa-\_ nd i] ts e lf to the dime+ nsions# of/ \ cine ma li*f #]e. The %;imagi *nary life on the screen)# ^ is- the pro;;duct o+f this real need. The star is t\*;he pro je[ ction of this nee d. #( The im%ages of the adve[r+tise m[`?]ent@s, dur *]ing the in;termission/s are mo- re^ su ; +ited ,$ t han -*%any others =_for evoking an in =termission of, l% ife. To %/really d esc`/ribe this * era it woul] ** d no doubt be necessary t__@ o show many other[ things. But what would *be the po/ i^nt Better to grasp the totality o=f what has been done and what re*+main =s= to be d-^!one than to *@add more ru ins to t(,)he old world o^f % ??the )spectacle #and ^of memories+% .? #@1. This film, :#^ !whic`=h ev$)[okes the lettrist e*[_xperienc!e\:#s at)^)= the^(, o /rigin of the situationist moveme))nt, _`opens with shots of the Paris [ district frequ+ ented by the lettrists in the e*arly,) 1950s.