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详细介绍：Voice 1 (male "professional announcer" type): This n eighborho od(1) w as made for the wr etched dignit y of the pet ty bourgeoisie, for r espectable o ccupations and intelle ctual touri sm. The sedentar y population of the upper floors was sheltered from the influe nces of th e street. T his neighborh ood has remain ed the sam e. It was the strange sett ing of ou r story, where a syst ematic qu estioni ng of all the diversi ons and works of a society , a tot al crit ique of its idea of ha ppiness, was expre ssed in acts . These people also scorne d " subjective pr ofundity& amp;quot;. They were i nterest ed in noth ing but an ade quate and co ncrete exp ression of t hemselves . Voice 2 (Debord, monotone): H uman beings are not full y conscious of their real life - usually groping in the dark; o verwhelme d by the conse quences of thei r acts; at every m oment groups an d individua ls find themsel ves confronted with resu lts they ha ve not wished. Voice 1 : They said t hat oblivi on was the ir ruling passion . They wan ted to reinve nt everythin g each day; to bec ome the master s and p ossessor s of th eir own lives . Just a s one does not judge a man acc ording to the c onception he has of hims elf, one canno t judge such periods of tra nsition accord ing to their o wn consci ousness; on the contrary, one must explain the co nsciousne ss through the contr adictions of material life, thro ugh the con flict bet ween social conditions and the forc es of social productio n. The p rogress achieve d in th e domina tion of nature was not yet m atched by a correspon ding lib eration o f every day life. You th passed away among t he various controls of resignati on. Our c amera has captured fo r you a few aspects of a provisional microsociety. The know ledge of empiri cal facts r emains abs tract and supe rficial as long as it is n ot concreti zed by its integration into the whole & amp;quot; ” which alon e permits t he supersess ion of part ial and a bstract pr oblems so as to arri ve at thei r concre te essence, a nd implicit ly at thei r meanin g. This grou p was on the margins of t he economy. I t tended t oward a role o f pure consum ption, and fir st of all the free con sumption of i ts time. It thus found itse lf directly en gaged in qua litative va riations o f everyda y life bu t deprived of any means to interve ne in them. T he group ranged over a very sm all area. T he same times brou ght them back to the same p laces. No on e went to bed ea rly. Discuss ion on the mean ing of all this continued. .. Voice 2: &qu ot;Our life is a journey & quot;” In the winter and the ni ght. &quo t;” We se ek our pa ssage...& ;quot;� Voice 1: The abandone d litera ture ne vertheless exerted a de laying actio n on new a ffectiv e formu lations. Vo ice 2: T here was the fa tigue and the c old of the morning in thi s much-tra versed la byrinth, like an enigma th at we had to reso lve. It was a looki ng-glas s reality th rough which we had to disc over the po tential ri chness o f reality. On t he bank of th e river evening bega n once a gain; and ca resses; and the importan ce of a w orld witho ut importan ce. Just as the eyes have a blurred visi on of many things and can see o nly one c learly, s o the will can strive only incomp letely towar d diverse objects and can compl etely lo ve only one at a time. V oice 3 (young girl): No o ne counted on the futur e. It would nev er be possible to be togethe r later, or anywhe re else. There wo uld never be a greater freed om. Voi ce 1: The refus al of time an d of growing o ld automatical ly limit ed encounter s in this narro w, conting ent zone, w here what wa s lacking was felt as irrep arable. Th e extreme p recariousn ess of the means of g etting by w ithout worki ng was at the root of t his impat ience which made ex cesses nece ssary an d break s definitive. Voice 2: One n ever real ly cont ests an organi zation o f exist ence withou t contesting all of th at organiza tion& #39;s forms o f langua ge. Voic e 1: Wh en freedom is practice d in a clos ed circle, it fade s into a dre am, becomes a mere representa tion of itself. The ambiance of play is by n ature unst able. At any moment &qu ot;ordinary lif e&quo t;� can pr evail on ce again. The g eographica l limitation of play is eve n more st riking than its tempo ral limitatio n. Any game takes place wit hin the contour s of its spatial do main. Around the neighborhoo d, around its fleeting and threatened immobility, stretched a ha lf-known city where pe ople met only by chan ce, losing t heir way f orever. The g irls who found their w ay there, because they were leg ally under the control of their families until the age of ei ghteen, we re often recapt ured by the defen ders of that d etestable i nstitution. T hey were generall y confin ed unde r the g uard of those creatures w ho among all the bad pro ducts of a bad society are th e most ugly and repu gnant: nuns. Wh at usually mak es documentari es so e asy to unde rstand is the arbi trary l imitation of their subj ect matter . They d escribe the atomiza tion of soci al func tions and the isolation of their produc ts. One can, in contrast, envisage th e entire comple xity of a moment whi ch is not resol ved into a work , a mome nt whose movemen t indisso lubly c ontains fact s and va lues and whose meaning do es not y et appear. The subject m atter of the docume ntary w ould then b e this c onfused totalit y. Voic e 2: The era had arri ved at a level of knowl edge and tech nical me ans that made p ossible, an d increasingly necessar y, a direct c onstruction o f all a spects o f a lib erated affective and practi cal exist ence. The appearance of the se superior means of acti on, stil l unused becau se of the dela ys in the pro ject of liqui dating t he commodity e conomy, had a lready condemned aesth etic activity , whose ambit ions and powers were b oth outd ated. The de cay of ar t and of all the value s of former mores ha d formed our sociol ogical background . The ruling class& ;#39;s m onopoly over th e instrume nts we n eeded to c ontrol in order to re alize the colle ctive art o f our time had excluded us fro m a cultu ral product ion offi cially devoted to illus trating an d repeating the past. An art film on t his generat ion can only be a film on its absen ce of rea l creati ons. Ever yone unthi nkingly followe d the paths learned o nce and for all, to their wo rk and their ho me, to the ir predictable future. For them duty had a lready be come a habit, an d habit a duty . They di d not see the deficiency of their city. They thought t he deficiency of their life was natural. W e wante d to brea k out of this conditioni ng, in que st of ano ther use of the urb an landscape, in quest of new passio ns. The atmo sphere of a f ew places ga ve us intima tions of the fu ture po wers of a n architect ure it would be necessar y to create to be th e support and fra mework for l ess mediocre g ames. We c ould exp ect nothin g of anything we had not ours elves alte red. The urb an envi ronment proc laimed the orders an d tastes of t he ruling society j ust as viole ntly as the newspapers. It is man wh o makes the unity of the wo rld, bu t man has ex tended himself everywhere. Peo ple can see nothing a round them that is not th eir own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles ev erywhere. The re was a cohesio n in the obstacles of a ll types. They maintained the coherent reig n of poverty. Everything being connected, i t was neces sary to chang e everything b y a unitary struggle, or nothing. It w as necessa ry to link u p with the ma sses, but we w ere surrounded by sleep. Vo ice 3: The dictatorship o f the pro letariat is a d esperate strug gle, blo ody and bloodl ess, viol ent and pea ceful, mili tary and ec onomic, e ducational and administrati ve, again st the forces and tr aditions of t he old w orld. Voic e 1: In t his countr y it is once again the men of or der who have rebelle d. They have re inforced their po wer. They have been ab le to aggrava te the g rotesqueness of the ru ling condit ions accor ding to the ir will. They have embell ished th eir system wit h the fu nereal cere monies of the past. V oice 2: Years, like a single instant pr olonged to this point, come to a n end. Voice 1: What was dir ectly lived reappears froz en in the d istance, fit in to the tas tes and ill usions of a n era, carr ied away w ith it. Voice 2: The ap pearance of events that we have n ot made , that ot hers hav e made again st us, no w oblige s us to be aware of th e passag e of ti me, its result s, the tr ansformation of our own desires into events. What differentiates the past from t he present is prec isely its out-of-re ach objectivi ty; there is n o more s hould-be; being is so consume d that it has ce ased to exis t. The details are already lo st in the dust of time. Who was afraid of life, af raid of th e night, afrai d of being tak en, afra id of b eing kept? Vo ice 3: What should be abolis hed continues, and we continu e to wea r away with it . We are engul fed. We are sep arated. The y ears pass an d we hav en&# 39;t ch anged anythi ng. Voice 2: Once again morning in the same streets. Once again t he fati gue of so m any simi larly passed n ights. It is a walk that has las ted a l ong time. Voice 1: Real ly hard to dri nk more. Voic e 2: Of co urse one mi ght make a film of it. But even if s uch a film succeeds i n being as fundame ntally di sconnected and unsatisfyi ng as the r eality it de als with, it will never be more th an a re-creat ion &am p;quot;” poor and false lik e this botched traveling shot. Voi ce 3: There a re now peopl e who prid e themselv es on being a uthors of fi lms, a s others w ere authors of novels. They a re even mor e backw ard than th e novel ists becaus e they are unawar e of the decom position and exha ustion of individua l expres sion in our ti me, ignorant of the end of the arts of pa ssivity. They a re praised for their since rity si nce they drama tize, with m ore pers onal depth, the con ventions of which their life consists. There is talk of th e liberation of the cinem a. But what do es it ma tter to us i f one m ore art is libe rated through which Tom, Dick or Harry can joyously exp ress their slavish sent iments? T he only i nteresting v enture is t he liberation o f everyday life, no t only in the perspect ives of histor y but for us and right away. This entail s the withering away of ali enated for ms of com municati on. The cinema, too, has to be destroy ed. Voice 2: In the fi nal analysis, stars are cr eated b y the need w e have for them, and not by their talent or l ack of talent or even by the fi lm indus try or adverti sing. Miser able need, dismal, anonymous li fe that woul d like to expand itse lf to the dimensions of cinema life. Th e imaginar y life on th e screen is the product of t his real ne ed. The s tar is the pr ojection of this need . The images of the advertis ements duri ng the intermi ssions are more suited t han any ot hers for evoking an i ntermis sion of life . To re ally des cribe this era it would no doubt be necessary to s how many other things. B ut what would b e the point? Be tter to g rasp the totali ty of wha t has been don e and w hat remains to be done than to add mo re ruin s to the o ld world of the spectac le and of memo ries. 1. This film, which evoke s the lett rist experi ences at the origi n of the situationis t movement, op ens with shots of the Pa ris district frequented b y the lettrists in the earl y 1950s.详情