导演：居伊·德波
主演：未知
Voice 1 (male professiona l an nouncer typ e) This neighborhood(1) was made f or the wre tched dignity of the petty bourge oisie, for respecta ble occupations and int ellectual tourism. The sedentary po pulation o f the upper floors was shelt ered from th e influences of the street . This neighborh ood has rema ined the same. It was the str ange sett ing of our st ory, where a s ystematic quest ioni ng of all the diversions and works of a society, a total critique of its ide a of happine ss, was expressed in ac ts. These people also scorned subjective profundi ty. They wer e interested in nothing bu t an adequate and concre te expression of the mselves. V oice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in t he dark; overwh elmed by the consequences of their a cts; at every moment g roups and indi viduals find themselves confr onted with results they hav e not wish ed. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent ev erything each day; to become the maste rs and p ossessors o f their own lives. Just as one does not ju dge a man according to the c onception he has of him self, one cannot ju dge such per iods of transitio n according to their own consciousness; on the c ontrary, one must e xplai n the consciousn ess through the contradictions of material li fe, t hrough the conflict betw een soci al conditions and the forces of social production. The progress ach ieved in the domination of nature wa s not yet matched by a corresponding libera tion of eve ryday life. Yout h passed away among the various controls o f resignation. Our camera has captured for you a few aspects of a p rovisiona l microsociet y. Th e knowledge of emp irical facts remains abstrac t and superfic ial as long as it i s not concreti zed by its integration into the whole ” which alone permit s the supersession of partial and abst ract prob lems s o as to arrive at their concre te esse nce, a nd implicit ly at their mean ing. Th is grou p was o n the margins of the economy. It t ende d to ward a role of pure con sumption, and fir st of all t he free consumption of it s time. It thus found itself directly eng aged i n qualitat ive variat ions of ever yday life b ut dep rived of an y means to in tervene i n them. The group ranged over a very s mall a rea. The sa me times b rought them back to the same places. No one went to bed early. Discussion on the mean ing of al l this co ntinued... Voice 2 Our life is a journey ” In the wint er and the n ight. ” We see k our passage...� Voice 1 The abandoned literatu re never theless e xerted a delaying action on new affecti ve formula tions. Voice 2 There was the fatig ue an d the cold of the morni ng in this much-tra versed laby rinth, l ike an enigma that we had to resolve. It was a looking-glass realit y through which w e had to discove r the potential richness of reality. On the bank of the river evening beg an once again; and caresses; and the imp ortance of a world withou t import ance. Just as the eyes have a bl urred vision of man y things and can see only one clear ly, so the will can strive onl y incom pletely to ward diverse objects and can c ompletely lo ve only one at a time. Voi ce 3 (yo ung girl) N o one counted on the future. It would never be pos sible to be together later , or anywhere else . There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatica lly limited encounters in t his narrow, contingent z one, wher e what w as lacking was felt as irreparabl e. The extreme precar iousness of th e means of getting by without working w as at the root of this impatience wh ich made excesses necessary a nd breaks defi nitive. Voice 2 One never really contests an orga nizat ion of exist ence without contesting a ll of that organization's forms of languag e. Vo ice 1 When freedom is pra cticed in a close d circle, it fades into a dream, becomes a m ere represen tation of itself. Th e ambiance of play is by nature unstable. At any moment ordinary life� can prevail once aga in. The geographic al limitation of play is even more striking than its temporal limitation. Any game takes pla ce within the contours of its spatial dom ain. Aroun d the neighborhood, around its fleeti ng and threatened immo bility, str etched a half-kn own city where pe ople met on ly by chance , losing their way forever. The girls who found thei r way there , because they were legally under t he control of th eir fam ilies until the age of eighteen, were often reca ptured by the defenders of that detes tabl e institution. They were generally conf ined under the guard of those c reatures who among all the bad pro ducts of a bad soci ety ar e the most ugly and repugnant nuns. What us ually makes docume ntaries so easy to und erstand is the arbitrary limita tion of the ir subject matter. They describe the a tomization of so cial functio ns and the isol ation of their pr oducts. One can, in contrast, env isage the entire complexit y of a mome nt wh ich is not resolved into a wor k, a moment whose m ovemen t indisso lubly contains facts and values and whose meaning does not yet a ppear. The subject matter of the documenta ry would th en be t his confused total ity. Voi ce 2 Th e era had arrived a t a level of knowledge and technical mea ns that m ade poss ible, an d increasingly nec essary, a direct construction of all aspects of a liberated affec tive and pra ctical existence. The appearance o f these supe rior means of action, still unused b ecau se of the d elays in th e proje ct of li quidating the commodity economy, had alr eady condemned aesthetic activity, whose ambitions a nd powers were both out dated. The dec ay of art and of all the values of former mores had formed our so ciological backgroun d. The ruling class's m onopoly ove r the instruments we needed to control in order to r ealiz e the colle ctive art of ou r time had exclude d us from a cult ural production officia lly devoted to illu strating and repeating the past. An art film on this generation can only be a film on its absence of real creati ons. Everyone unt hink ingly followed the paths learne d on ce and f or a ll, 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 thoug ht th e deficiency of their life was nat ural. We wanted to b reak out of this conditioning, in q uest of another use of the urba n landscape, in quest of new p assions. The atmosphere of a few pl aces gave u s intimat ions of the future powers of an arch itecture it would be n ecessary to create to be the support an d fram ework for less m ediocre game s. We could e xpect not hing of anyth ing we had not ou rselves alt ered. The urban e nvironment pr ocla imed the orders and tastes of the ru ling society jus t as violently as the newspaper s. It is man who makes the unity of the world, b ut man has extended himse lf eve rywher e. People can see nothin g around them t hat is not their own image; everyth ing speaks to them of themselves. Their very landsc ape is ali ve. There were obstacles every where. The re was a cohesion in th e obstacles of all type s. They maintained the coherent reign of poverty. Everyth ing being conne cted, it was necessary to chang e ev erythi ng by a unitary struggle, or noth ing. It was necess ary to link up with the masses, b ut we were surrounded by sleep. Voice 3 The dictatorship of the p role tariat is a desperate struggle, bloody and bloodless, violent and peace ful, mili tary and economic, ed ucational and ad ministrati ve, against the fo rces and traditions of the old world. Voice 1 In this country it is once again the men of order w ho have rebelle d. They have reinforced t heir power. They have been able to aggr avate the grotesqueness of the ruling c ondition s according to their w ill. They have embellished the ir syste m with the funereal ceremonies o f the past. Voice 2 Y ears, like a single instant prolonge d to th is point, come to an end. Voi ce 1 What was directly l ived reappears frozen in th e distance , fit into t he tastes and illusions of an era, carri ed awa y with it. Voice 2 The appearance of events that we have not m ade, that o thers have made against us, now oblig es us to be aware of the passage of tim e, its results, the transf ormatio n of our own desires into events. What differentiates the past fr om the present is precisely its out-of-r each object ivity; there is no more should- be; be ing is so consume d that it h as cease d to exist. The d etails ar e already lost in the dust o f time. Who was afraid of life, afraid of the night, afr aid of being taken, afrai d of being kept Voice 3 What should be abolished continues, and we contin ue to wear away w ith it. We are engu lfed. We are separ ated. The ye ars pass and we haven't changed an ything. Voice 2 On ce again morning in th e same streets. Once again th e fatigue of so many s imil arly passed nights. It is a walk t hat has lasted a long time. Voice 1 Really h ard to drink more. Voic e 2 Of course one m ight make a film of it. But even i f such a film succee ds in be ing as fun damentally d isconnect ed and unsatisfying as the reality it deals wit h, it will neve r be more than a re -creatio n ” poor and fa lse l ike this botched tr aveling sho t. Voice 3 There are now people who p ride themselves on being authors of fil ms, as others were authors of novels. They a re even more backward than t he novelist s because they are unaware of the dec ompositi on an d exhaustion of individual exp ressi on in our time, ignorant of the end of the arts of passivity. They are prais ed for th eir sincerit y since they dramatize, with mor e pe rsona l depth, th e conventi ons of whic h their life consists . There is talk of t he liberation of the cinema. But what does it matt er to us if on e more art is liber ated through whi ch Tom, Dick or Harry ca n joyously expr ess their slavish senti ments The on ly interesting venture is the liberation of everyday life, not only in the perspectives of history bu t for u s and right away. Th is entails the w ithering away of aliena ted forms of communication. The cinema, t oo, has to be destroyed. Voice 2 In the final analysis, stars are created by the ne ed we have for them, and not by their talent or lack of talent or even by the film industry or advertisi ng. Miserable need , dismal, anonymous life that would like to expand itself to t he dimensions of cine ma lif e. The imaginary life on the screen i s the product of this real need. The star is the pro jection of this need. The images of the ad vertisements during the inter missions are more suited th an any others for evoking an i nter mission of l ife. To r eally describe this era it would no doubt be necess ary to show many other things. B ut what would be the point Better to grasp th e totality of what has been done and w hat remains to be done t han to a dd more ruins to the old world of the spe ctacle and of memo ries. 1 . Th is fi lm, which evokes the lett rist exper iences at the or igin of the situationist movem ent, opens with s hots of the Paris district frequented by the l ettrists i n the ea rly 1950s. 星辰影院为您提供《关于在短时间内的某几个人的经过》完整未删减版免费在线观看。精彩剧情/对白：“去灵公主当年住的宫 殿看看吧，她 当年走的时候虽然将东西几乎都带走了，但是屋子的陈设没 有变，这些年来一直都是如 此。本来 这宫殿要给了宫里 的答应，后来灵太妃去 求来的，这才让灵公主的 宫殿一直原封不动。当年，灵太妃跪了三三夜，先帝这才答应，答应之 后，先帝再没有见过灵太妃，也没有问起过他们。”
“老夫的意思很简单，除了 开放欢乐镇，我们掌 门在云顶 之上是要有话权的， 和你师父一样的话权 。另外，欢乐镇的东西，要 给我们武门的 弟子打半折，还有兵器丹 药坊，优先给我 们武门弟子 提供。只要 你能答应，我们武门无条 件的回到云顶之上管 辖。”
“常家人连夜搬着自己的东西出了皇城，也不知道去那里，反正全部家当都带上了，一副迫不及待的 样子。只是在出城的时候被拦 着了，让他们家出壮丁，常明 直接被他大哥推了出去，被 推出的时候 他大哥还骂骂咧 咧呢，他害了常威将军府，活该。他爹 娘没有拦着，也没有话，似乎也有些怨恨他的意思。”
“你若是今日没有这么提 ，我会带着你回去 ，安顿好你，对外也是一样我娶了你，然后好好过 日子。但是今日这样提了，那也很简单，明你有 自己的打算，那你去做 自己想要做的事情就好了，我会这么 做，纯粹是 想要还你一个人情而已。”
“第一，你外出可 以，但身边必须要有保镖的陪伴，你现在虽然身手恢复的差不多了，但是也有一年多的 时间没有执 行过任务了，这其 中有很多小的细节的改变，你都不清楚，让他们跟着你，你也能适应一下，顺便保证你的 安全。”
