简介关于在短时间内的某几个人的经过 HD中字
关于在短时间内的某几个人的经过 HD中字网友评分0次评分
网友评分
0次评分
影片信息
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：剧情/
- 时长：内详
- 上映：未知
- 语言：法语
- 更新：2025-02-21 01:12
- 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06集石兆琪/王雨甜/郝率/
- 更新HDSarae Adams/Janice Dias/Mike Donovan/Kota Johan/Yuri Pleskun/Andrew Porter/
- HD达米安·勃纳尔/柴崎幸/西岛秀俊/青木崇高/马修·阿马立克/格莱戈尔·科林/苏莱曼·达兹/维玛拉·庞斯/
- HD艾米莉亚·克拉克/马尔顿·索克斯/卡特琳娜·莫里诺/凯特·林德尔/丽莎·佳丝托妮/雷莫·吉罗内/爱德华·德林/吉皮耶罗·朱迪卡/妮科尔·卡德达/安东内拉·布里蒂/
- 更新至06集娜奥米·阿基/查宁·塔图姆/克里斯蒂安·史莱特/西蒙·雷克斯/阿德里娅·阿霍纳/凯尔·麦克拉克伦/海利·乔·奥斯蒙/吉娜·戴维斯/阿莉雅·肖卡特/莱文·霍克/索尔·威廉姆斯/特鲁·马伦/利兹·卡瑞贝尔/朱力安·塞奇威克/
- 更新至02集杰瑞米·雷乃/玛尔特·克勒尔/琪塔·昂罗/莫德·惠勒/阿兰·利博/弗雷德·埃波/珍妮·罗莎/杰西卡·卡曼达/Justine/Bachelet/Catherine/Ferran/杰罗姆·基尔舍/伯纳黛特·勒·萨切/塞巴斯蒂安·普德鲁/雷米·罗巴汉/Bouraou?a/Marzouk/吉莱纳·隆代/莱蒂西亚·代·冯贝莱/Jean-Baptiste/Verquin/朱莉-安妮·罗斯/Gautier/About/
- 更新HD梅格翰·法伊/布兰登·斯克莱纳/维奥莱特·比恩/雅各布·罗宾森/里德·戴蒙德/加布里埃·瑞安/杰弗里·塞尔夫/爱德·维坎斯/特拉维斯·尼尔森/Fiona Browne/塔拉·麦克唐纳/Stephanie Karam/Seroosh Max Salimi/Sarah McCormack/Saoirse Hayden/Aaron Keane/Ellen Reidy/Gerry Brauders/Jordon-Dione Scanlon/
- 更新HD米洛·马查多·格拉纳/马修·阿马立克/萨利夫·西塞/弗朗索瓦兹·勒布伦/米沙·莱斯科特/欧嘉·米尔施泰因/
- 更新HD赫尔加·古莲/奥德盖尔·图内/凯瑞·豪根·西德尼斯/Maja Tothammer-Hruza/莫娜·格伦/海蒂·耶尔蒙森/玛特·马努斯多特·索利姆/伊丽莎白·桑德/埃斯罗姆·基达内/阿克塞尔·奥古斯特·莱南德尔-勒尔威克/艾尔瑟·玛丽安·恩格尔/贝尔蒂娜·卡耶姆贝/威克多·罗尔·诺德斯托加/卢卡斯·因维尔西尼/安娜·卢·马门/埃里克·洛夫·欧瑟·奥夫斯达尔/索尔维格·内斯勒·斯汤·豪格兰德/
- 更新HD吉约姆·卡内/梅拉尼·罗兰/奥罗拉·布鲁坦/雨果·狄龙/法布里齐奥·隆吉奥内/阿努克·达尔文·霍梅伍德/Vidal Arzoni/Tom Hudson/罗珊妮·杜兰/杰罗姆·察帕特/Erwin Aureillan/
- 更新HD伊莎贝尔·卢卡斯/特穆拉·莫里森/乔·戴维森/克里斯托弗·佩特/
- 更新HD尼克·诺特/Kalipha/Touray/夏洛特·兰普林/阿尔芭·罗尔瓦赫尔/斯特兰·斯卡斯加德/西尔维娅·卡尔德罗尼/玛瑞亚·达波/Osemwenoghogho/'Victory'/Wilfred/Vincenzo/Del/Prete/Giovanni/Trono/市川纯/Fiorenzo/Madonna/Cosimo/Desii/Andreina/Liotti/罗伯塔·马太/瓦莱丽亚·戈利诺/
- 更新HD保罗·巴伯/玛瑞亚·达波/安珀·多伊索恩/
- 更新HD大卫·阿奎特/凯文·康诺利/Leila Ben Khalifa/杰里米·卢克/
- HD让-马克·巴尔/让·雷诺/罗姗娜·阿奎特/保罗·希纳尔/赛尔乔·卡斯特利托/让·布伊兹/马克·迪莱特/格里芬·邓恩/安德烈亚斯·武齐纳斯/瓦伦提娜·瓦格斯/金伯莉·贝克/Patrick/Fontana/杰弗里·凯里/皮尔·塞姆勒/弗兰科·第欧根尼/保罗·赫尔曼/吕克·贝松/克里斯蒂安·加奇奥/
- HD比尔·斯卡斯加德/杰登·马泰尔/杰里米·雷·泰勒/索菲娅·莉莉丝/菲恩·伍法德/乔森·雅各布/杰克·迪伦·格雷泽/瓦耶特·奥莱夫/杰克逊·罗伯特·斯科特/尼古拉斯·汉密尔顿/杰克·辛/洛根·汤普森/欧文·泰格/斯蒂夫·博加尔特/斯图尔特·休斯/杰弗里·庞塞特/皮普·德怀尔/莫莉·阿特金森/史蒂文·威廉姆斯/伊丽莎白·桑德斯/梅根·查彭提尔/安东尼·尤埃西/哈维尔·博泰特/伊莎贝尔·内利瑟/尼尔·克容/
- HDAdam/Xander/Angelides/Ivy/Amelia/Angelides/Lois/Brabin-Platt/Henri/Charles/Ajay/Chhabra/克里斯·乔奇/David/Constant/伊丽莎白·康塞尔/杰克/·戴维斯/Robert/Eadon/Hélder/Fernandes/Kevin/Harvey/大卫·海曼/罗宾·赫利尔/尼尔·马斯克尔/
- HD贾梅尔·布利萨特/Rayan/Bouazza/斯特芬·凯亚尔/吉约姆·卡内/莫里斯·陈/Schmitt/Charly/艾蒂安·吉鲁-科文/琪塔·昂罗/约翰·海尔登贝格/纳西姆·斯艾哈迈德/亚历克西斯·曼蒂/Laurent/Merillon/
- 更新HD谢霆锋/曾志伟/舒淇/谷祖琳/吴君如/陈惠敏/李灿森/冯德伦/尹子维/陈慧琳/黄秋生/金燕玲/张达明/谷德昭/
- 更新HD马蒂亚斯·勒古特·哈蒙德/埃洛迪·布歇/让-查理·克里切特/西莱丝特·布伦奎尔/拉莉·梅西尔/路易斯·佩雷斯/Angèle/Metzger/Bakary/Diombera/安妮·波努瓦/Valérie/Lemaitre/布鲁诺·若里斯/Géraldine/Pochon/Mila/Ruozo/Noah/Lazhar/Suzon/Renaud/Cédric/Mazzec/Roland/Gervet/Véronique/Frumy/Max/Carrasso/Gwena?l/Fournier/
- HD格雷格·T·尼尔森/Craig/T./Nelson(饰/巴克)/麦迪森·劳勒/Madison/Lawlor（饰演/珍妮）/布兰登·斯克莱纳/Brandon/Sklenar（饰演/比利）/
- 更新HD谢霆锋/曾志伟/舒淇/谷祖琳/吴君如/陈惠敏/李灿森/冯德伦/尹子维/陈慧琳/黄秋生/金燕玲/张达明/谷德昭/
- 更新HD刘青云/周慧敏/李国麟/黄志明/黄泽民/田青/黄伟辉/钟荣/谭家强/朱家杰/
- 更新HD吴耀汉/冯宝宝/吕方/罗美薇/楼南光/陈百强/李丽珍/关佩琳/
- 更新HD吴耀汉/冯宝宝/吕方/罗美薇/楼南光/陈百强/李丽珍/关佩琳/
- 更新HD万梓良/钟楚红/关海山/钱似莺/曹查理/罗烈/黄志伟/金露/
- 更新第02集森山未来/真木阳子/原日出子/藤龙也/
- 更新HD王源/张雪迎/梁靖康/李晨/印小天/韩童生/余皑磊/董勇/此沙/翟潇闻/张晓晨/陈雨锶/李嘉鑫/高戈/马泰/王莎莎/陈铭杨/鹿骐/叶筱玮/张海宇/曹骏/袁近辉/金靖承/生港帅/胡宝森/袁文康/王仁君/佟梦实/姚安濂/张建亚/林栋甫/何晟铭/李宗翰/小爱/
- 更新HD张静初/芦芳生/余皑磊/高冬平/董畅/张宁浩/李晓川/富冠铭/
- 更新HD拉斐尔·佩尔索纳/多莉亚·蒂利耶/让娜·巴利巴尔/艾曼纽·德芙/文森特·佩雷斯/索菲·吉耶曼/亚历山大·萨洛/Florence Ben Sadoun/Mélodie Adda/卡琪娅·申库/塞尔日·里亚布金/Constance Verluca/Joniece Jamison/Jelle De Beule/让·克雷蒂安·赛蓓汀·勃朗峰/Bruno Fleury/Max Harter/Rapha?l Cohen/Roméo Spadone/安娜·阿尔瓦罗/