剧情介绍
Voice 1 (male "professional announcer" type): This neighbo rhood(1) was ma de for th e wretc hed dignity of the petty bourgeoisie , for respecta ble occupat ions and i ntellec tual tour ism. The sed entary popula tion of the upper f loors was sh eltered from th e influences of the stree t. This neighb orhood has r emained the s ame. It wa s the strang e setting of our story, wher e a systemat ic questioni ng of all t he dive rsions and wor ks of a soci ety, a total critiq ue of i ts idea of ha ppiness, was expre ssed in acts. Thes e people also scor ned &qu ot;subj ective profundi ty". T hey were interested in nothing but an adequate and concrete expre ssion of th emselves. V oice 2 (Debord, monoto ne): Human bei ngs are not fully conscious o f their rea l life - u sually gropin g in the dark; overw helmed by the con sequences of their acts ; at eve ry moment g roups and individuals find th emselve s confronte d with res ults they have not wishe d. Voice 1: They said tha t oblivion was thei r ruling p assion. The y wanted to rei nvent eve rything each day; to be come th e masters and possessors of their own lives. Jus t as one do es not judge a man according to the concep tion he ha s of himself, one cannot judg e such perio ds of trans ition accord ing to their o wn conscio usness; on the contrary, one m ust explain th e conscious ness th rough the c ontradicti ons of material life, t hrough the conflict betwee n social conditi ons and the for ces of socia l produ ction. T he progress achieved in the dom ination of na ture was not ye t matched by a correspond ing liberat ion of everyday life. Youth passed away amo ng the various contro ls of res ignation. Our camera has captured for you a fe w aspects of a pro visiona l microsociety. The knowledge of empirical facts r emains abs tract and sup erficial as lo ng as it is no t concretized by its integration into the wh ole &q uot;” which a lone permits the superses sion of partia l and abstr act problems s o as to arriv e at th eir concre te essence, and imp licitly at the ir meani ng. This group was on the margins of the economy. It tend ed toward a ro le of pu re consumpt ion, and fir st of all the free consump tion of its time. It thus f ound itsel f directly engaged in qu alitative v ariations of everyday life but dep rived of an y means to interv ene in th em. The group ranged ove r a very small area. Th e same times br ought t hem back to the same p laces. No one went to b ed early. Disc ussion o n the meani ng of all thi s continued. .. Voic e 2: &a mp;quot;Our lif e is a journey &qu ot;” In the wi nter and the night. &am p;quot;” W e seek our p assage...&am p;quot; � Voice 1: T he aban doned lite rature nev erthele ss exer ted a dela ying actio n on ne w affective formulatio ns. Voice 2: There was the fatigue and the cold of the morning in this muc h-traversed l abyrinth, lik e an en igma that we h ad to resolve. It was a l ooking-glas s reality through w hich we h ad to dis cover the potential r ichness of real ity. On the bank of the rive r evening began on ce again ; and caress es; and t he importan ce of a w orld without i mportan ce. Just as the eyes ha ve a blurred vi sion of many things and can see onl y one cle arly, s o the will can strive o nly incomp letely towa rd diverse obje cts and can completely love only on e at a time. V oice 3 (young girl): No o ne counte d on the future . It would never be p ossible to b e together la ter, or any where e lse. There would nev er be a greater fr eedom. Voic e 1: The refusa l of time and o f growi ng old automati cally limited encounte rs in this nar row, continge nt zone, wher e what was lac king was felt as irrep arable. The extreme precariousn ess of t he means of getting by without work ing was a t the root of t his impatience which made excesses nece ssary a nd breaks defin itive. Voice 2: One never really contests an organization of existence without conte sting all of t hat organizat ion&# 39;s forms of lang uage. Voi ce 1: When freedom is pra cticed in a closed circle, it f ades into a dr eam, bec omes a me re represe ntation of itself. The ambiance of play is by nature unst able. At any m oment &qu ot;ordinary life&quot ;� can p revail once again. The geog raphical li mitation of p lay is even more stri king than i ts temporal limita tion. Any game takes pla ce within the cont ours of its spati al domain. A round the neighborhood, around its fl eeting a nd thre atened immob ility, st retched a half- known city wher e people met o nly by chance , losin g their wa y forever. T he girls who found their way there, be cause they were legally under the con trol of their families until the age of eig hteen, were of ten recaptured by the defen ders of that dete stable i nstituti on. They were generally conf ined und er the guard o f those creatures who among all the bad prod ucts of a bad society ar e the most ugly and repugnant : nuns. What u sually makes documenta ries so easy to unde rstand i s the arb itrary l imitati on of their sub ject matter. Th ey desc ribe the atom ization of social funct ions and the isolati on of the ir products. One can, in contras t, envis age the entire complexity of a m oment which is not res olved into a work, a moment w hose moveme nt indis solubly contai ns facts an d values and w hose meaning does not yet appear . The subj ect matt er of th e documen tary would then be this c onfused t otality. Voice 2: T he era had arri ved at a leve l of knowledge and technic al means that made possi ble, a nd incre asingly necessary, a direct co nstruction of all aspe cts of a liberated affective and pr actical ex istence . The appearanc e of these s uperior mean s of action , still u nused beca use of the del ays in the pro ject of liquidating the commodity ec onomy, had already c ondemned aesthetic a ctivity, w hose ambition s and po wers were both outdated. The decay of art and of all the values of for mer mores had fo rmed ou r sociolo gical backgroun d. The ruling c lass& #39;s mon opoly over t he instrument s we nee ded to contro l in order to realize the col lective art of our tim e had excluded us from a cultural p roducti on offi cially devoted to illust rating and repeating the past. An art film on this ge neration can only be a film on its abse nce of real cre ations. Everyone unth inkingly fo llowed the paths learn ed once and for all, t o their wor k and their home, to their p redictable fut ure. For them duty ha d already be come a hab it, and habit a duty. They did not s ee the deficien cy of their cit y. They th ought the deficienc y of their life wa s natural. We wanted t o break out of th is condit ioning, in ques t of anoth er use o f the urban la ndscape, in quest of new passion s. The atmos phere of a few places gave us inti mations of the f uture p owers of an ar chitect ure it would be necess ary to create to be t he supp ort and fra mework for less med iocre ga mes. We could expect nothing of anything we ha d not ourse lves alte red. The urban environment proclaimed th e order s and tastes o f the ruling society just as violently as the newspape rs. It is man who makes the uni ty of the world , but man ha s extended hi mself everywhe re. People can see nothing around them that is n ot their own i mage; everythin g speaks to them of themse lves. Th eir very landsc ape is alive. T here wer e obstac les everywher e. There wa s a cohesion in the obstacle s of all types . They m aintained the coheren t reign of poverty. Ev erythin g being c onnected, it was neces sary to chang e everything by a unitar y struggle, o r nothing. It was nec essary to link up with the masses, but w e were surroun ded by s leep. Voice 3: The dictators hip of the proletariat is a desperate struggle, bloody an d bloodless , viole nt and peac eful, milit ary and econo mic, educat ional and admin istrative, a gainst the forces and t raditio ns of the old world. Voice 1: In thi s country it is o nce again t he men of o rder wh o have rebelled. The y have re inforced their power. Th ey have been able to aggra vate the gro tesqueness o f the ru ling conditions according to their will . They have embellis hed their system with t he funereal cer emonies of the past. Voice 2: Ye ars, lik e a single instant prolonge d to thi s point, come to an e nd. Voice 1: Wh at was dir ectly l ived reappear s frozen in t he distanc e, fit into the tastes and illusions o f an era, c arried a way wit h it. Voice 2: The appear ance of event s that we have not made, th at othe rs have made against us, no w oblige s us to be aware of the passag e of tim e, its resul ts, the transf ormation of our ow n desires into events. Wh at differen tiates the past from the pre sent is prec isely its o ut-of-re ach objec tivity; th ere is no mo re should -be; being is so cons umed that it ha s ceased to e xist. The det ails are alread y lost in the dust of time. Who w as afraid of li fe, afra id of the nig ht, afraid o f being taken, afraid of being kept ? Voice 3 : What shou ld be ab olished c ontinues, and we conti nue to wear aw ay with it . We are en gulfed. We ar e separated. The years pass and we haven& amp;#39; t changed any thing. V oice 2: Once again morning in the same streets. O nce again the fat igue of s o many simi larly pa ssed nights. I t is a walk tha t has lasted a long time. Voic e 1: Reall y hard to drink mor e. Voice 2 : Of course one might mak e a film of it. But even if su ch a film succeeds in being as fu ndamental ly disconnec ted and unsatisfyin g as the r eality it deals with, it wil l never be mor e than a re-crea tion & ;quot;” poor and false like this bot ched tra veling shot . Voice 3: There are now p eople who pr ide thems elves on bein g authors of films, as others were authors of novels. They a re even mo re backward t han the nov elists bec ause they are unaware of th e decompos ition and e xhaustion of individual expression in our time, ignorant of the end of the arts of pas sivity. Th ey are pra ised for their sincer ity since they dramat ize, with more personal depth, t he conventions of which th eir life con sists. The re is t alk of the libe ration of th e cinema. But what d oes it m atter to us i f one more art is libe rated throu gh which To m, Dick or Harry can joyously expr ess their sla vish sentimen ts? The only inter esting vent ure is t he liberation of ever yday lif e, not only in the perspect ives of hi story but for us and righ t away. This en tails t he wither ing away of ali enated forms o f communic ation. Th e cinema, too, h as to be destroyed. Voi ce 2: In the final a nalysis, stars are cr eated by the ne ed we have fo r them, and not by th eir talent or lack o f talent or eve n by the film indu stry or adve rtising. Misera ble need, dism al, anony mous life th at woul d like t o expand itself to th e dimensi ons of cinema life. T he imag inary li fe on the scr een is the pr oduct of this real need. The star is the projection of this nee d. The i mages of the ad vertise ments du ring the intermissi ons are mo re suite d than any ot hers fo r evoking an in termissi on of life. To really d escribe this e ra it would n o doubt be nece ssary t o show man y other thin gs. But what wo uld be the point? Better to grasp the total ity of wha t has been d one and what remains to be done th an to ad d more ruins to the old worl d of the spec tacle an d of me mories. 1. This film, w hich evokes th e lettrist e xperien ces at the origin of t he situat ionist movem ent, ope ns with sho ts of the Paris district frequented by the lettrist s in the earl y 1950s.详情
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