电影 关于在短时间内的某几个人的经过
豆瓣高分

关于在短时间内的某几个人的经过

影片信息

豆瓣高分
  • 片名:关于在短时间内的某几个人的经过
  • 状态:HD中字
  • 主演:未知
  • 导演:居伊·德波/
  • 年份:1959
  • 地区:法国
  • 类型:短片/剧情/
  • 时长:内详
  • 上映:未知
  • 语言:法语
  • 更新:2025-08-08 23:31
  • 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 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.
  • 关注公众号观影不迷路

  • 扫一扫用手机访问

 立即播放  线路①

选择来源

  • 线路①
  • 线路④
5.0
网友评分
  • 很差
  • 较差
  • 还行
  • 推荐
  • 力荐
7.9 251次评分
5.0
网友评分
  • 很差
  • 较差
  • 还行
  • 推荐
  • 力荐
7.9 251次评分
给影片打分 《关于在短时间内的某几个人的经过》
  • 很差
  • 较差
  • 还行
  • 推荐
  • 力荐
我也要给影片打分

扫一扫用手机访问

首页 电影 剧情片 关于在短时间内的某几个人的经过

播放列表

 当前资源来源线路① - 【每日更新 超清秒播】
 倒序

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 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.

为你推荐

 换一换
  • 更新至17集
    6.0 王轩/季美含/
  • HD
    1.0 埃洛迪·布歇/加埃尔·莫雷尔/斯特凡·里多/弗雷德里克·戈尔尼/米歇尔·莫雷蒂/雅各·诺勒/Eric Kreikenmayer/Nathalie Vignes/Michel Ruhl/Fatia Maite/
  • HD
    1.0 丹尼斯·奎德/杰伊·埃尔南德斯/吉莲·韦格曼/布莱特·卡伦/切奇·马林/詹娜·利·奥提兹/奥斯卡·努内斯/朱利安·沃克斯/吉米·冈萨雷斯/希瑟·卡夫卡/何塞·胡利安/宝琳娜·查韦斯/格里高利·迪亚兹四世/切特·格里索姆/Morgana Shaw/波·阿诺德/理查德·罗比查乌克斯/米可·麦克斯林/拉里·杰克·唐森/玛丽安娜·阿尔瓦雷斯/
  • HD
    7.0 奥利维娅·德哈维兰/刘·艾尔斯/托马斯·米切尔/
  • HD
    4.0 Greta Carew-Johns/Ruth Bidner/尼克·普雷斯顿/Amanda Wong/Lauren Attadia/C.J. Wilkins/Madonna Gonzalez/阿贾伊·班克斯/Katrina Kwan/Abiola Uthman/Barbara Patrick/Alyssa Mack-Lee/Derrick de Villiers/
  • HD
    10.0 松坂桃李/芳根京子/役所广司/吉冈秀隆/三浦贵大/宇野祥平/坂东龙汰/
  • 更新HD
  • HD
    1.0 詹妮薇芙·布卓/基思·卡拉丹/莱斯莉·安·华伦/帕特里克·波查/蕾伊·道恩·钟/约翰·拉尔奎特/杰拉德·萨尔汀/罗伯特·古尔德/约翰·康西丁/
  • HD
    3.0 秋庄/宝清/阮国长/
  • HD
    1.0 西斯·凯利/金赛·孔克尔/罗汗·迈尔斯/伊万·弗雷克/
  • HD
    5.0 Sebastian D. Fischer/Anna Kaminski/Sandro Kirtzel/Lana-Mae Lopicic/Nora Carla Pichler/
  • HD
    3.0 胡楷翔/黄亭开/
  • HD
    7.0 吉恩·哈克曼/珍妮弗·沃伦/爱德华·宾斯/哈里斯·于林/肯尼思·马尔斯/Janet Ward/詹姆斯·伍兹/安东尼·科斯特洛/约翰·克劳福德/梅兰尼·格里菲斯/
  • HD
    7.0 张明健/宋小宁/杨诚/周锦堂/李铁/何波/田克兢/
  • HD
    2.0 胡定欣/林夏薇/张曦雯/陈展鹏/谭俊彦/马国明/张一辉/苏恩磁/陈佳宁/梁昊东/朱威锦/卢隆浩/不文辉/邱文熙/梁珀瑜/
  • HD
    9.0 埃德温·安德烈/詹姆斯·布鲁尔/Dainis Grube/Gints Andzans/Maya Arwen/艾斯特·蒂奇/Christopher Dane/
  • HD
    3.0 提莫西·查拉梅/爱德华·诺顿/艾丽·范宁/莫妮卡·巴巴罗/波伊德·霍布鲁克/丹·福勒/诺尔贝特·里奥·布茨/初音映莉子/比格·比尔·莫根菲尔德/威尔·哈里森/斯科特·麦克纳里/P·J·伯恩/迈克尔·切鲁斯/查理·塔汉/伊莱·布朗/彼得·格雷·刘易斯/彼得·格雷蒂/乔·蒂皮特/礼萨·萨拉萨尔/大卫·阿伦·伯施理/詹姆士·奥斯汀·约翰逊/约书亚·亨利/大卫·温泽尔/玛雅·菲德曼/伊洛斯·佩若特/莱利·哈什莫托/伦尼·格罗斯曼/
  • HD
    4.0 Varvara Lushchyk/Mariya Chuprynenko/Mariya Demochko/维罗妮卡·迪乌皮娜/Khrystyna Fedorak/Anastasia Kor/Evgeniya Nechiporenko/纳塔尔卡·科比兹卡/卡蒂娅·莫尔查诺娃/阿纳斯塔西娅·内斯特连科/Marichka Shtyrbulova/
  • HD
    7.0 莫妮卡·波特/小弗雷迪·普林兹/凯文·波拉克/加布里埃拉·翰/布丽尔·巴尔布斯卡/Suteara Vaughn/Ciel Shi/
  • HD
    7.0 卡姆兰·塔夫蒂/比塔·阿特沙尼/阿米尔·侯赛因·穆萨维/
  • HD
    9.0 塞缪尔·杰克逊/文森特·卡塞尔/Gianni Capaldi/劳拉·哈德克/约翰·汉纳/凯特·迪基/布莱恩·麦克卡尔迭/妮可莱特·麦琪恩/Dylan Blore/萨曼莎·考格兰/Michael Guest/马克·霍尔登/詹姆斯·马西森/Mitchell Robertson/Alia E. Torrie/Birol Tarkan Yildiz/
  • 更新HD预览版
    5.0 赵曙光/方展荣/张集骏/谢佩霏/方莉莉/蔡爱平/许守和/李树浩/纪传泽/苏细珍/曾赛英/张鸿华/陈晓娴/
  • 更新HD
    8.0 未知
  • 更新HD
    2.0 维杰·西图帕提/内森·梅农/
  • 更新HD
    3.0 蒋林燕/段斌/谢正洪/
  • 更新HD
    2.0 张以磬/裴子齐/
  • 更新HD
    7.0 哈娜·瓦格内洛娃/Tereza Krippnerová/马雷克·瓦苏特/Alzbeta Stanková/Marek Nemec/Zlata Adamovská/丹妮拉·科拉洛娃/伊戈尔·奥罗佐维奇/Frantisek Rotnágl/Albert Cuba/Ladislav Hampl/Zuzana Pillmanová/吉列·维约拉克/Marie Viková/Vladimír Polák/
  • 更新HD
    5.0 Lázaro Ramos/Kaique de Jesus/Elzio Vieira/桑德拉·科维洛尼/费尔南达·德·弗雷塔斯/
  • 更新HD
    2.0 朗达·邓特/Kristina Paras/马特·汉密尔顿//安娜·范·胡福特/Dax Belanger/Natalie von Rotsburg/布伦特·斯泰特/Vern Bevis/Stephen Spender/Chandra Athayde/Ashley Chomik/Sam Darkoh/Kevin Osea/Hannah Sandhu/Allan Luna/
  • 更新HD
    10.0 Maélya Boyd/Corey Loranger/Genevieve Langlois/Ma?na Rose Caméus/卡罗琳·雷诺德/Sheila Isaro/Pierre-André Muila/Hélène Dallaire/Grey Reich/Nicole Prefontaine/Baeyen Hoffman/Jasper Renée Green/émile Legault/Mike Skakoon/

评论

评论已关闭