487
4.0

关于在短时间内的某几个人的经过

导演:
居伊·德波
主演:
未知
别名:
未知
4.0
487人评分
法语
语言
未知
上映时间
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片长
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.
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364
1.0
HD
粉红色潜艇1959
1.0
上映时间:04月27日
主演:加里·格兰特,托尼·柯蒂斯,琼·欧布伦,迪娜·梅瑞尔,吉恩·埃文斯,Dick,Sargent,维吉尼亚·格雷格,罗伯特·F·西蒙,罗伯特·吉斯特,加文·麦克劳德,乔治·邓恩,迪克·克罗基特,马德琳·鲁,马里昂·罗斯,Clarence,Lung,弗兰基·达罗,罗伯特·F.霍伊,Nicky,Blair,John,W.,Morley,阿瑟·奥康纳,哈尔·贝勒,威廉·布莱特,Dick,Callinan,Malcolm,Cassell,戴尔·卡明斯,弗朗西斯·德塞尔斯,Vince,Deadrick,Sr.,Alan
简介:

  美国海军海之虎号潜艇即将退役,海军少将雪曼早早地来到潜艇上,翻看航海日志。看着自己当年的记录,昔日情景仍历历在目。将军思绪万千,浮想联翩…….   太平洋战争初期,美国海军在东南亚步步退守。海之虎号潜艇在港口几乎被日军飞机炸沉,雪曼艇长(卡里·格兰特饰)的任务是在两周之内完成平时需要两个月才能做完的事——把完全失去航行和战斗能力的海之虎号修好并撤退,但时局艰难,海之虎号连最起码的补给都很难弄到。海军上尉霍顿前来报到,此人无论穿着打扮或言谈举止,都象个十足的纨绔子弟,而且有关潜艇专业的知识他一概不懂,雪曼艇长觉得自己又多了一重麻烦。   霍顿上尉主动请缨之下,当上了海之虎号的军需官。谁知这正是最能发挥他长才的职位。他妥为运筹,使海之虎号的军需补给呈现一派欣欣向荣的景象,很快就拔锚起航了,而基地指挥官则忙着追查搬空基地仓库及他本人办公室的窃贼。   霍顿上尉是个很有办法的人,海之虎号起航时引擎都没修好,他雇来当地巫师作法,帮助潜艇顺利离岸;中途停靠地找不到补给,他开设赌场允许当地官兵拿基地的物资来兑换筹码。他也是个好心的人,对于帮助过他寻找补给的人,他都会有所回报,因而海之虎号上多了一个犯过军法的囚犯厨师,多了一群美女军医,多了赌场老板大肚皮的婆娘们及一只产奶的山羊。看在他搜罗军需品的才能份上,这些奇奇怪怪的人和事雪曼艇长都勉强接受下来。   美女军医们上船后,雪曼艇长的烦恼更多了:船员们纷纷装病,以便享受温柔的呵护;一名女军医太过“层峦叠嶂”,雪曼艇长不得不下令当女士们通过狭窄的艇中走道时,男士们要自动消失;同样还是这名女军医,无意中按到了鱼雷发射钮,致使一枚鱼雷没有打中8000吨的日军油轮,却冲上沙滩击毁了一辆卡车……   海之虎号需要防锈漆,霍顿上尉只找到一些白色和红色的漆,从此太平洋上出现了一艘粉红色的潜艇。美、日双方都不知道本方有这样的潜艇,各自下令:一经发现粉红色潜艇,立即击沉。   海之虎号与一艘美国军舰遭遇了,还没来得及打招呼,炮弹便飞了过来,雪曼艇长命令紧急下潜,可他出尽百宝都无法骗得军舰停扔深水炸弹,只因为潜艇上有初生婴儿的哭声帮军舰的声纳作定位。万分危急之中,霍顿上尉建议将女军医们的内衣用鱼雷发射管打上海面。此计果然生效,军舰指挥官一看那胸罩便断定日本女人不会有这么大的尺码。   海之虎号得救了!   最后,霍顿上尉也当上了这艘“神奇潜艇”的艇长 。

364
HD
粉红色潜艇1959
主演:加里·格兰特,托尼·柯蒂斯,琼·欧布伦,迪娜·梅瑞尔,吉恩·埃文斯,Dick,Sargent,维吉尼亚·格雷格,罗伯特·F·西蒙,罗伯特·吉斯特,加文·麦克劳德,乔治·邓恩,迪克·克罗基特,马德琳·鲁,马里昂·罗斯,Clarence,Lung,弗兰基·达罗,罗伯特·F.霍伊,Nicky,Blair,John,W.,Morley,阿瑟·奥康纳,哈尔·贝勒,威廉·布莱特,Dick,Callinan,Malcolm,Cassell,戴尔·卡明斯,弗朗西斯·德塞尔斯,Vince,Deadrick,Sr.,Alan