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剧情介绍
Voice 1 (male "professional announcer" type): This neighb orhood(1) was ma de for the wretched di gnity of the pet ty bour geoisie, for respec table occup ations and i ntellectual tourism. The sedenta ry population of the uppe r floor s was shelt ered from the influences of the stre et. This nei ghborhood has remained th e same. It wa s the stran ge setting of our story, where a systematic questioning of all the diversions and works of a socie ty, a tot al critique o f its id ea of hap piness, w as expr essed in act s. These people also s corned &quo t;subjective profund ity&q uot;. They we re intere sted in nothing but an adequ ate and concrete expres sion of th emselves. Voice 2 (Debor d, monot one): Hu man beings ar e not full y conscious of their rea l life - u sually g roping in the dark; over whelmed by th e consequence s of their acts; a t every moment groups and i ndividuals fi nd themse lves confronted with resu lts the y have not w ished. Voice 1 : They said tha t oblivion was their rul ing pass ion. Th ey wanted to rein vent ev erything each d ay; to become t he masters and possessor s of their own lives . Just as one does not ju dge a ma n according t o the c onception he has of himself , one c annot judg e such p eriods of transition acc ording to t heir ow n consci ousness; on t he contrary, one m ust explain t he cons ciousness through the con tradictio ns of ma terial li fe, throu gh the conf lict between s ocial c ondition s and the for ces of soci al producti on. The pr ogress achieve d in the domi nation of n ature was not yet matched b y a correspond ing liberation of everyday life. Youth p assed awa y among th e various con trols of re signation . Our camera has capture d for you a few aspects of a provision al microsociety . The kn owledge o f empirical fac ts remains abstract and superfi cial as long as it is not concretized by its int egration in to the w hole &a mp;quot;” which alone permits the su persession of p artial and a bstract p roblems so as to arrive a t their c oncrete essence, and implic itly at the ir meani ng. This group was on t he margins o f the eco nomy. It ten ded toward a role of p ure cons umption, and fi rst of all t he free consu mption of its ti me. It thus found i tself directly engaged in qualitat ive varia tions of everyday li fe but d eprived of any means to intervene in them. The g roup ra nged ove r a very s mall area . The same t imes brought th em back to the same pl aces. N o one we nt to bed earl y. Discussi on on t he meaning of all th is continued.. . Voice 2: &a mp;quot;Our life is a journey & amp;quot; ” In the winter an d the n ight. &quo t;” We seek our p assage...&q uot;� Voic e 1: The a bandoned l iterature nev ertheless exerted a del aying actio n on new affective formul ations. Vo ice 2: There w as the fatigu e and the col d of th e morning in this much -traverse d labyrinth, like an enigma that we h ad to resol ve. It was a lo oking-gl ass reali ty through which we had to discover the potentia l richness of reality. O n the bank of t he river even ing began once a gain; a nd caresses; a nd the im portance o f a world with out impor tance. Just as the ey es have a blurred visi on of man y things an d can se e only o ne clearl y, so the will can s trive onl y incompletel y toward diverse objec ts and ca n completely lo ve only one at a time. Vo ice 3 (young girl): No one c ounted on the future. It would ne ver be p ossible to b e together late r, or anywher e else. There wou ld never b e a greater fre edom. Voic e 1: The refusal of tim e and of growing old au tomatica lly limi ted enc ounters in this nar row, contingen t zone, where what was lacking was felt as irrep arable. The extreme precar iousness of the means o f getting by without wo rking was at the root o f this imp atience wh ich made excess es necessary and breaks definitive. Voice 2: One never really co ntests an org anizatio n of exist ence witho ut contesting all of that organiza tion' s forms of l anguage. Voic e 1: When free dom is pract iced in a closed circl e, it fades into a dream, becomes a mere representation of itself. Th e ambiance of play is by nature unst able. At any moment & amp;quot;ord inary life& ;quot;� can prev ail once aga in. The geog raphical limita tion of play is even mo re strik ing than its t emporal l imitation. A ny game takes place wi thin the contours of i ts spatial d omain. Aro und the n eighborh ood, around it s fleeting and threatened immo bility, stretched a h alf-known c ity whe re people met only by chance, losing their way forev er. The g irls who found their way there, bec ause the y were l egally u nder the cont rol of their families u ntil the a ge of ei ghteen, were ofte n recaptured by the defe nders o f that de testable institu tion. They were generally confine d under the gu ard of those c reatures wh o among all th e bad product s of a b ad societ y are t he most ug ly and r epugnant: nu ns. What usu ally ma kes documen taries so easy to understand is the arbit rary limit ation of their subject matter . They des cribe th e atomization of socia l functi ons and the isolati on of t heir pr oducts. One can, i n contrast , envisag e the entire complexity of a moment which is not res olved in to a work, a momen t whose movem ent indissolubl y contains f acts and val ues and whos e meaning doe s not yet appear. The s ubject ma tter of the do cumentary would then be this confu sed total ity. Voic e 2: The era had arri ved at a l evel of kno wledge and tech nical m eans that mad e possibl e, and in creasingly ne cessary , a dire ct construc tion of all as pects of a liberated a ffective and practical e xistence. The appearance of these superior m eans of action, still unused because of the delays in the proj ect of li quidating t he commodity economy, h ad already cond emned aesthetic activity, who se ambitions and powers were both outdated. The decay of ar t and of all the v alues of former mores had f ormed our sociological background. T he ruling cla ss's mo nopoly over the instruments we needed to control in order to re alize the collective a rt of our time had exclud ed us from a cultural pro duction official ly devot ed to illu stratin g and repeatin g the p ast. An art film on this gen eration c an only be a film on its a bsence of real crea tions. Eve ryone unth inkingly fo llowed the path s learn ed once and fo r all, to their w ork and their h ome, to their pred ictable future. For t hem duty had alrea dy becom e a habit, an d habit a duty. The y did not s ee the d eficiency of th eir city . They thou ght the d eficiency of their lif e was natu ral. We wante d to break o ut of this con ditioni ng, in ques t of an other use o f the urban landsca pe, in quest o f new passi ons. The atmo sphere o f a few place s gave us in timations of the futur e powers of an architectur e it would b e necessary t o create to be the support a nd frame work for le ss mediocre games. We c ould expect nothing of any thing we had not ours elves alter ed. The urban e nvironment pro claimed the ord ers and tastes o f the rul ing societ y just as violently as the newspape rs. It is ma n who ma kes the unity of the world, bu t man has exte nded himself everywhere. People can see nothing arou nd them that is not their own image; everything s peaks to them of themsel ves. Their ve ry land scape is aliv e. There were o bstacles e verywhere . There was a cohesi on in the obsta cles of all types. Th ey maintained t he coherent r eign of p overty. Eve rything being c onnected, it w as neces sary to change everything b y a unita ry struggle, o r nothing. It was neces sary to lin k up with the masses , but we were s urrounded b y sleep . Voice 3 : The dictato rship of the proletariat is a de sperate str uggle, bl oody and bloodl ess, violen t and pe aceful, military and ec onomic, educatio nal and admin istrative, against the fo rces and tr aditions of the old wo rld. Voice 1: In this coun try it is once again the men of order who have rebelled. They ha ve reinforc ed their p ower. T hey have b een abl e to aggr avate the gr otesqueness o f the ruling condition s according to their will. They have embe llished their system with the funere al ceremo nies of the past. V oice 2: Years, like a single instant prolonged to this point, come t o an end. Voice 1: Wha t was d irectly lived reappear s frozen in the distance, fi t into the tastes an d illusion s of an era, carried away with it . Voice 2: The appea rance of event s that we h ave not ma de, that oth ers have made a gainst u s, now obl iges us to b e aware of the passage of time, its results, the tr ansformat ion of ou r own desir es into ev ents. What di fferentia tes the past f rom the p resent is pr ecisely its ou t-of-reach obj ectivity; there is no more should-be; being is so c onsumed th at it ha s ceased to exist. The de tails are al ready lost in the dust o f time. Who wa s afraid of life, afrai d of th e night , afraid of being taken, afraid of bein g kept? Voice 3: W hat should be abolis hed con tinues, and we continue to wear away wit h it. We are e ngulfed. We are separat ed. The years pass an d we haven&a mp;#39;t changed any thing. Vo ice 2: On ce again mo rning in t he same s treets. Once again the fatigue o f so many si milarly passed nights. It i s a walk that h as lasted a long time. V oice 1: Rea lly hard to drink mo re. Voice 2: Of course on e might mak e a film of it. But even if s uch a fi lm succ eeds in being as fund amentally d isconne cted and u nsatisfyin g as the realit y it deals with, i t will never be more tha n a re-crea tion & quot;” poor and false like this botched travelin g shot. Voi ce 3: The re are now pe ople who pri de themselve s on being au thors o f films, as others wer e author s of novels. They are e ven more backwa rd than th e novelists b ecause they are unaware o f the decompo sition and e xhaustion of in dividual ex pression i n our t ime, ig norant of the end of t he arts of pas sivity. They ar e praised fo r their si ncerity si nce the y dramat ize, with mo re personal d epth, the conventions o f which the ir life cons ists. There is talk of the liberation of the cine ma. But wha t does it m atter to us if one more art is liberat ed through whi ch Tom, Dick o r Harry can joyously e xpress their s lavish sentimen ts? The only interest ing venture is the libe ration of every day life, not only in the pers pectives of hi story but for u s and right awa y. This entails t he withering away of ali enated form s of commu nicatio n. The c inema, too, has to be des troyed. Voice 2 : In the fi nal analysis, stars are crea ted by the need we have fo r them, and no t by th eir tal ent or l ack of ta lent or even by the fi lm industry or advertisi ng. Mise rable need, dismal, anonymous li fe that would like t o expand itse lf to th e dimension s of cin ema life . The i maginary life on the screen is the product of this r eal need. The star is the pro jection of this nee d. The im ages of the advertisem ents during th e intermissio ns are more s uited than any others for evoking an intermission of life. To really d escribe this e ra it would no doubt be nece ssary to sh ow many othe r thing s. But wha t would be the poi nt? Better to grasp the t otality of what h as been done and wha t remains to be done t han to add more ruins to the old w orld of the specta cle and of memorie s. 1. This fil m, which evokes the let trist experi ences at the origin of the situation ist movement, opens w ith shots of the Paris dist rict frequente d by the lettris ts in th e early 1950s.详情
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