原文地址：http://www.qh505.com/blog/post/4986.html

肥皂是潔白的，裸體的女孩是潔白的，房間是潔白的，于是電影也是潔白的。這是紀(jì)錄片的最后一個(gè)鏡頭，當(dāng)這個(gè)女人撫摸肥皂露出曖昧笑容的時(shí)候，她展示了什么，或者說(shuō)電影展示了什么？是生活的美好，是欲望的純凈，還是產(chǎn)品的誘惑？居伊·德波用這樣一個(gè)鏡頭揭示的卻是某種虛幻的生活，它是廣告，是為了消費(fèi)產(chǎn)品，而在可能的消費(fèi)中，連裸體女孩也一起消費(fèi)了，于是，鏡頭的背后是一種“悲慘的需要”，是“凄涼的、匿名的表達(dá)”，而這樣的解構(gòu)是為了另一種建構(gòu)，“與其給舊世界增添更多的景象和記憶，還不如全面地了解已經(jīng)做過(guò)的事情和還有待做的事情?！?/p>

最后的肥皂廣告，在某種程度上卻來(lái)源于另一部電影的鏡頭，也是女人，也是洗澡，卻并沒(méi)有展示肥皂的光滑與潔白，洗完澡后那女人的一句臺(tái)詞是：“我們分居了。歲月流逝，我們什么也沒(méi)有改變。”那么這是一部藝術(shù)電影嗎？當(dāng)女人不再是產(chǎn)品的代言人，在那個(gè)分居的故事里，是不是遠(yuǎn)離了消費(fèi)？而當(dāng)歲月流逝和生活變遷寫在女人眼睛里的時(shí)候，她也不是在這身心的暫時(shí)放松中在“給舊世界增添更多的景象和記憶”？她也不是缺乏勇氣去“全面了解已經(jīng)做過(guò)的事情和還有待做的事情”？

廣告呈現(xiàn)的是虛幻的生活，電影表現(xiàn)了懷舊情緒，而它們的共同特點(diǎn)是用明星來(lái)制造生活，制造情調(diào)，“明星就是這種需求的投影。”它僅僅是一種投影，在居伊·德波看來(lái)，這種投影終結(jié)了真正的藝術(shù)，抹除了個(gè)人的深度，甚至將生活所包含的習(xí)俗戲劇化，當(dāng)明星成為我們的需要，當(dāng)影像制造了虛幻，電影只不過(guò)表達(dá)了人們的奴性情感，甚至讓人們?cè)诋惢慕涣鞣绞街谐蔀橐荤娚唐?，在和日常生活脫離了聯(lián)系的現(xiàn)實(shí)中，“但這又有什么意義呢？”

“電影也必須被銷毀?！边@是居伊·德波的一句宣言，當(dāng)他開(kāi)始轉(zhuǎn)向情境主義的時(shí)候，需要回答的是“應(yīng)該廢除什么”，就像電影臺(tái)詞所說(shuō)“我們分居了”。這是1952年的巴黎，街道里有車輛，有行人，他們匆匆行走，在這個(gè)城市里尋找自己的方向和位置，他們不是上層居民，他們只是生活在能夠容納他們的卑微尊嚴(yán)、體面職業(yè)的社區(qū)里，而其實(shí)他們生活著，卻沒(méi)有意識(shí)到他們的真實(shí)生活：“通常在黑暗中摸索；被他們行為的后果所淹沒(méi)；每時(shí)每刻群體和個(gè)人發(fā)現(xiàn)自己面對(duì)著他們沒(méi)有希望的結(jié)果。”沒(méi)有希望的生活中有早晨的疲憊和寒冷，有夜晚的迷離和孤獨(dú)，“正如眼睛對(duì)許多事物都有模糊的視野，只能清楚地看到一個(gè)事物，所以意志只能不完全地朝著不同的對(duì)象努力，并且一次只能完全地愛(ài)一個(gè)人。”無(wú)法清晰地看見(jiàn)真實(shí)的生活，于是在第二天早晨醒來(lái)時(shí)，又走在這條街上，又一次面對(duì)同樣的疲憊和寒意，又一次走向更深的夜晚。

如此循環(huán)，生活就像那沉醉在酒吧里的男人和女人一樣，“真的很難喝更多?！边@是麻木的世界，這是激情喪失的生活，這是缺乏自由的封閉現(xiàn)實(shí)，在居伊·德波看來(lái)，他們喪失了“主觀的深刻性”，但是悲劇并不是他們靠著自己的意志來(lái)擺脫這樣的生活，而是用虛幻來(lái)消費(fèi)時(shí)間，消費(fèi)現(xiàn)實(shí)，消費(fèi)激情，甚至消費(fèi)自己，就像那塊肥皂，看起來(lái)光滑，看起來(lái)潔白，看起來(lái)無(wú)限誘人，只不過(guò)是女人拿在手里的產(chǎn)品。

人也成為一種產(chǎn)品，沒(méi)有主觀深刻性，就只能成為一個(gè)異化的物，只能被社會(huì)所消費(fèi)，他們說(shuō)：“我們的生活是一個(gè)旅程?！眳s總是不想破壞這個(gè)旅程；他們說(shuō)：“我們尋求我們的通行證……”卻總是被禁錮在產(chǎn)品的現(xiàn)實(shí)里；他們說(shuō)：“沒(méi)有人指望未來(lái)?！钡亲约簠s把未來(lái)抹除了。但不僅僅是他們自己，這個(gè)社區(qū)，這個(gè)城市，這個(gè)社會(huì)，一樣帶入了消費(fèi)的現(xiàn)實(shí)，一樣制造了虛幻的生活，這便是居伊·德波所說(shuō)的“系統(tǒng)”：“所有的娛樂(lè)和活動(dòng)都受到系統(tǒng)的質(zhì)疑?！庇谑撬^的幸福觀念被全面批判，并且以實(shí)際行動(dòng)來(lái)蔑視這些人的“主觀的深刻性”：他們被允許游戲，但是游戲的地域局限性比時(shí)間的限制更顯著，“任何游戲都發(fā)生在其空間域的輪廓內(nèi)，在鄰近地區(qū)，圍繞著它那短暫的、威脅不動(dòng)的地方，延伸著一座半為人知的城市，人們只是偶然相遇，永遠(yuǎn)迷失了方向。”他們失去了自由，在一個(gè)封閉的圈子里練習(xí)自由，而且女孩子被禁錮在18歲這個(gè)年齡里，在之前他們受到家庭的合法性控制，“她們經(jīng)常被那個(gè)可憎機(jī)構(gòu)的捍衛(wèi)者重新抓獲。”她們只是在“最令人厭惡的那些動(dòng)物保護(hù)者之下”生活；他們處在經(jīng)濟(jì)的邊緣，他們被政治所遺忘，他們被技術(shù)控制……而所有這一切，使他們成為被消費(fèi)的人，于是這個(gè)時(shí)代就成為居伊·德波所說(shuō)的“混亂的總體”。

這便是他所批判的景觀社會(huì)，個(gè)人只不過(guò)是社會(huì)的鏡像，只不過(guò)是“社會(huì)功能原子化”的犧牲品，只不過(guò)是產(chǎn)品消費(fèi)的一種沉淪，“藝術(shù)的衰落和舊道德價(jià)值觀的形成，形成了我們的社會(huì)學(xué)背景?！碑?dāng)他們用商品經(jīng)濟(jì)觀念來(lái)譴責(zé)審美活動(dòng)，當(dāng)他們用野心和權(quán)力來(lái)隔離日常生活，當(dāng)他們?nèi)∠藗€(gè)體的自由和主觀深刻性，實(shí)際上他們就是統(tǒng)治階級(jí)。所以從鏡頭下的“微型社區(qū)”來(lái)觀察，需要的是突圍，是解放，甚至是革命。

但是，居伊·德波并不要求以個(gè)人的方式來(lái)激發(fā)政治熱情，“經(jīng)驗(yàn)事實(shí)的知識(shí)，只要不是通過(guò)整合到整體中來(lái)具體化的，即僅僅允許部分和抽象問(wèn)題的疊加，從而得出它們的具體本質(zhì)，并隱含它們的含義，它就仍然是抽象和膚淺的?！痹谒磥?lái)，首先是通過(guò)矛盾看見(jiàn)景觀社會(huì)的種種問(wèn)題，“正如一個(gè)人不能根據(jù)他自己的觀念來(lái)判斷一個(gè)人一樣，一個(gè)人也不能根據(jù)自己的意識(shí)來(lái)判斷這種轉(zhuǎn)變的時(shí)期；相反，一個(gè)人必須通過(guò)物質(zhì)生活的矛盾，通過(guò)社會(huì)環(huán)境的沖突來(lái)解釋這種意識(shí)。”而在這個(gè)基礎(chǔ)上，以整體性來(lái)對(duì)抗整體性，去除經(jīng)驗(yàn)主義，去除個(gè)人主義，“人是創(chuàng)造世界統(tǒng)一的人，但人卻把自己擴(kuò)展到了世界各地。人們?cè)谒麄冎車裁匆部床坏?，不是他們自己的形象；一切都是他們自己的。他們的風(fēng)景很生動(dòng)?！?/p>

那一幀照片里的人是靜態(tài)的，是平面的，但是鏡頭卻讓他們活了過(guò)來(lái)，他們?cè)诰瓢衫?，喝著酒抽著煙，討論著話題，眼光中即使有迷離，也會(huì)成為一種解構(gòu)和革命的力量，因?yàn)橐磺斜仨毥Y(jié)束了，因?yàn)橐磺斜仨氶_(kāi)始了，“無(wú)產(chǎn)階級(jí)專政是一場(chǎng)絕望的斗爭(zhēng)，血腥的、無(wú)血的、暴力的和平的、軍事的、經(jīng)濟(jì)的、教育的和行政的，反對(duì)舊世界的勢(shì)力和傳統(tǒng)?！彼麄冇涡校麄兪就?，他們巷戰(zhàn)，他們結(jié)合成整體，“在這個(gè)國(guó)家，再一次反抗的是秩序的人。他們?cè)鰪?qiáng)了他們的力量?！倍@何嘗不是真實(shí)現(xiàn)實(shí)？何嘗不是日常生活？“誰(shuí)害怕生命，害怕黑夜，害怕被帶走，害怕被保存？”

短時(shí)間內(nèi)某幾個(gè)人的經(jīng)過(guò)，其實(shí)是一種意識(shí)，一種行動(dòng)，一種從小眾開(kāi)始的浪潮，而在這不是電影卻是紀(jì)錄片的畫面中，那些文學(xué)家光顧的酒吧成為一個(gè)革命的中心，他們?cè)谀抢锇l(fā)起了情境主義運(yùn)動(dòng)，而這種運(yùn)動(dòng)就是和曾經(jīng)的現(xiàn)實(shí)“分居”，就是摧毀景觀社會(huì)，就是廢除混亂的總體，就是抹除虛幻的生活，就是打破消費(fèi)產(chǎn)品，“電影也必須被銷毀?！薄拔ㄒ挥腥さ拿半U(xiǎn)是解放日常生活，不僅從歷史的角度看，而且從我們和現(xiàn)在來(lái)看?！?/p>

時(shí)間是日常生活的時(shí)間，自由是日常生活的自由，藝術(shù)是日常生活的藝術(shù)，革命當(dāng)然也是日常生活的革命，而一部紀(jì)錄片就是日常生活的影像記錄，它不是電影，不是產(chǎn)品，不為了消費(fèi)：短時(shí)間內(nèi)某幾個(gè)人的經(jīng)過(guò)，它構(gòu)成了生動(dòng)的畫面，沒(méi)有肥皂，沒(méi)有明星，沒(méi)有虛幻，因?yàn)檫@正是“已經(jīng)做過(guò)的和還有待做的事情。”

　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.

（聲音1(男“職業(yè)播音員”型)：這個(gè)街區(qū)(1)是為了維護(hù)小資產(chǎn)階級(jí)的可悲尊嚴(yán)，為了體面的職業(yè)和智力旅游而建的。上層的久坐人口受到了保護(hù)，不受街道的影響。

這個(gè)街區(qū)一直沒(méi)變。這是我們故事的奇怪背景，在那里，對(duì)一個(gè)社會(huì)的所有消遣和工作的系統(tǒng)質(zhì)疑，對(duì)其幸福觀的全面批判，都表現(xiàn)在行為上。這些人還嘲笑“主觀深刻性”。他們所感興趣的只是對(duì)自己的充分和具體的表達(dá)。）

　　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.

（聲音2(Debord，單調(diào))：人類沒(méi)有完全意識(shí)到他們的現(xiàn)實(shí)生活-通常在黑暗中摸索；被他們行為的后果淹沒(méi)；每時(shí)每刻，群體和個(gè)人都發(fā)現(xiàn)自己面臨著他們不希望看到的結(jié)果。）

　　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.

（聲音1：他們說(shuō)遺忘是他們最大的激情。他們每天都想重塑一切，成為自己生活的主人和主人。

正如人們不能根據(jù)自己的觀念來(lái)判斷一個(gè)人一樣，我們也不能根據(jù)他們自己的意識(shí)來(lái)判斷這樣的過(guò)渡時(shí)期，相反，我們必須通過(guò)物質(zhì)生活的矛盾來(lái)解釋意識(shí)，通過(guò)社會(huì)條件和社會(huì)生產(chǎn)力量的沖突來(lái)解釋意識(shí)。

在控制自然方面取得的進(jìn)步還沒(méi)有與相應(yīng)的日常生活解放相匹配。青年在各種聽(tīng)天由命的控制中逝去。）

　　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...

（我們的相機(jī)為您捕捉到了臨時(shí)微型社會(huì)的幾個(gè)方面。經(jīng)驗(yàn)事實(shí)的知識(shí)只要不是通過(guò)融入整體而具體化，它就仍然是抽象的和膚淺的。只有這樣，才能取代局部和抽象的問(wèn)題，從而達(dá)到它們的具體本質(zhì)，并隱含地理解它們的意義。

這群人處于經(jīng)濟(jì)的邊緣。它傾向于純消費(fèi)的角色，首先是那個(gè)時(shí)代的自由消費(fèi)。

因此，它發(fā)現(xiàn)自己直接參與了日常生活的質(zhì)的變化，但卻被剝奪了任何干預(yù)它們的手段。

這群人分布在一個(gè)非常小的區(qū)域內(nèi)。同樣的時(shí)間把他們帶回了同樣的地方。

沒(méi)有人早點(diǎn)上床睡覺(jué)。關(guān)于這一切的意義的討論仍在繼續(xù)……）

　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."

（聲音2：“我們的生活是一次旅行，在冬天和夜晚?！?“我們?cè)趯ふ椅覀兊耐ǖ馈保?/p>

　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.

（聲音1：被遺棄的文學(xué)仍然對(duì)新的情感表達(dá)起到了延緩作用。）

　　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.

（聲音2：在這個(gè)經(jīng)常穿越的迷宮里，早晨的疲憊和寒冷，就像一個(gè)我們必須解開(kāi)的謎團(tuán)。這是一個(gè)鏡子般的現(xiàn)實(shí)，我們必須通過(guò)它來(lái)發(fā)現(xiàn)現(xiàn)實(shí)的潛在豐富性。

河岸上的黃昏又開(kāi)始了；還有愛(ài)撫；還有一個(gè)不重要的世界的重要性。就像眼睛看不清很多東西，只能看清楚一個(gè)一樣，意志也只能不完全地朝著不同的對(duì)象努力，一次只能完全愛(ài)一個(gè)。）

　　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.

（聲音3(年輕女孩)：沒(méi)有人指望未來(lái)。以后永遠(yuǎn)不可能在一起，或者在其他任何地方。不會(huì)有比這更大的自由了。）

　　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.

（聲音1：時(shí)間的拒絕和變老的拒絕，自動(dòng)限制了在這個(gè)狹小的、偶然的區(qū)域內(nèi)的相遇，在那里，所缺少的被認(rèn)為是無(wú)法彌補(bǔ)的。不工作的謀生手段的極端不穩(wěn)定是這種不耐煩的根源，這種不耐煩使過(guò)度行為成為必要，而斷絕關(guān)系是必然的。）

　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.

（聲音2：如果不對(duì)一個(gè)組織的所有語(yǔ)言形式提出質(zhì)疑，就不會(huì)真正對(duì)該組織的存在提出質(zhì)疑。）

　　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.

（聲音1：當(dāng)自由在一個(gè)封閉的圈子里實(shí)踐時(shí)，它就會(huì)淡化成一個(gè)夢(mèng)，變成它自己的一種表現(xiàn)。游戲的氣氛本質(zhì)上是不穩(wěn)定的。任何時(shí)候，“平凡生活”都可能再次盛行。游戲的地域限制比時(shí)間限制更引人注目。任何博弈都發(fā)生在其空間域的等高線內(nèi)。在這個(gè)社區(qū)周圍，圍繞著它短暫的、受到威脅的靜止不動(dòng)，延伸著一座鮮為人知的城市，在那里，人們只是偶然相遇，永遠(yuǎn)迷失了方向。

那些在那里找到路的女孩，因?yàn)樗齻冊(cè)诜缮弦恢碧幱诩彝サ目刂浦?，直?8歲，經(jīng)常被那個(gè)令人憎惡的機(jī)構(gòu)的捍衛(wèi)者重新抓獲。他們一般都被關(guān)在那些造物主的看守之下，在所有壞社會(huì)的惡果中，修女是最丑陋、最令人厭惡的。

紀(jì)錄片之所以如此容易理解，通常是因?yàn)槠渲黝}的武斷限制。他們描述了社會(huì)功能的原子化和產(chǎn)品的孤立化。相反，人們可以設(shè)想，沒(méi)有被分解成作品的時(shí)刻的全部復(fù)雜性，一個(gè)運(yùn)動(dòng)中不容分解地包含事實(shí)和價(jià)值，其意義尚未顯現(xiàn)的時(shí)刻。

那么紀(jì)錄片的主題就是這個(gè)混亂的整體。）

　　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.

（聲音2：這個(gè)時(shí)代已經(jīng)到了知識(shí)和技術(shù)手段的高度，使得直接構(gòu)建解放的情感和現(xiàn)實(shí)存在的方方面面成為可能，而且越來(lái)越有必要。這些優(yōu)越的行動(dòng)手段的出現(xiàn)，已經(jīng)譴責(zé)了那些野心和權(quán)力都已經(jīng)過(guò)時(shí)的審美活動(dòng)。由于清算商品經(jīng)濟(jì)的計(jì)劃拖延了，這些手段仍然沒(méi)有得到使用。藝術(shù)的衰敗和昔日風(fēng)俗的所有價(jià)值觀的衰敗構(gòu)成了我們的社會(huì)學(xué)背景。統(tǒng)治階級(jí)壟斷了我們需要控制的工具，以實(shí)現(xiàn)我們這個(gè)時(shí)代的集體藝術(shù)，這把我們排除在了官方致力于描繪和重復(fù)過(guò)去的文化作品之外。

一部關(guān)于這一代人的藝術(shù)電影只能是一部沒(méi)有真正創(chuàng)作的電影。）

　　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.

（每個(gè)人都不假思索地一勞永逸地沿著學(xué)到的路走，去他們的工作，去他們的家，去他們可預(yù)測(cè)的未來(lái)。對(duì)他們來(lái)說(shuō)，責(zé)任已經(jīng)變成了一種習(xí)慣，習(xí)慣成了一種責(zé)任。他們沒(méi)有看到他們城市的不足之處。他們認(rèn)為生活中的不足是自然而然的。我們想要打破這種局限，尋求城市景觀的另一種用途，尋求新的激情。幾個(gè)地方的氛圍給了我們一個(gè)建筑未來(lái)的力量的暗示，它將有必要?jiǎng)?chuàng)造出來(lái)，成為不那么平庸的游戲的支撐和框架。我們不能指望任何我們自己沒(méi)有改變過(guò)的東西。城市環(huán)境像報(bào)紙一樣猛烈地宣揚(yáng)統(tǒng)治社會(huì)的秩序和品味。是人統(tǒng)一了世界，但人卻無(wú)處不在。人們看不到他們周圍任何不是他們自己形象的東西；一切都在向他們?cè)V說(shuō)著他們自己。他們的風(fēng)景是鮮活的。到處都是障礙物。在所有類型的障礙中都有一種凝聚力。

他們保持了一致的貧困統(tǒng)治。一切都聯(lián)系在一起，必須通過(guò)一場(chǎng)統(tǒng)一的斗爭(zhēng)來(lái)改變一切，或者什么都不做。聯(lián)系群眾是必要的，但我們卻睡得團(tuán)團(tuán)轉(zhuǎn)。）

　　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.

（聲音三：無(wú)產(chǎn)階級(jí)專政是一場(chǎng)與舊世界勢(shì)力和傳統(tǒng)作斗爭(zhēng)的絕望斗爭(zhēng)，流血與不流血，暴力與和平，軍事與經(jīng)濟(jì)，教育與行政。）

　　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.

（聲音1：在這個(gè)國(guó)家，又一次是有秩序的人造反了。他們已經(jīng)加強(qiáng)了他們的力量。他們可以隨心所欲地加劇統(tǒng)治條件的丑惡。他們用過(guò)去的葬禮來(lái)點(diǎn)綴他們的制度。）

　　Voice 2: Years, like a single instant prolonged to this point, come to an end.

（聲音2：歲月，就像一個(gè)瞬間延伸到這一點(diǎn)，結(jié)束了。）

　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.

（聲音1：直接活著的東西在遙遠(yuǎn)的地方冰凍地再現(xiàn)，符合一個(gè)時(shí)代的品味和幻想，隨之而來(lái)。）

　　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?

（聲音2：我們沒(méi)有制造的事件，別人對(duì)我們不利的事件的出現(xiàn)，現(xiàn)在迫使我們意識(shí)到時(shí)間的流逝，它的結(jié)果，我們自己的愿望變成了事件。過(guò)去和現(xiàn)在的不同之處恰恰在于它遙不可及的客觀性；沒(méi)有更多的應(yīng)該；存在被消耗得如此之多，以至于它已經(jīng)不復(fù)存在。細(xì)節(jié)已經(jīng)消失在時(shí)間的塵埃中。誰(shuí)害怕生活，害怕黑夜，害怕被帶走，害怕被禁錮？）

　　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.

（聲音3：應(yīng)該廢除的東西還在繼續(xù)，我們還在繼續(xù)消磨。我們被吞沒(méi)了。我們分開(kāi)了。幾年過(guò)去了，我們什么都沒(méi)有改變。）

　　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.

（聲音2：又一次早晨在同一條街道上。又一次，如此多的人疲憊地度過(guò)了類似的夜晚。這是一次持續(xù)了很長(zhǎng)時(shí)間的步行。）

　　Voice 1: Really hard to drink more.

（聲音1：真的很難再多喝了。）

　　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.

（聲音2：當(dāng)然可以把它拍成電影。但是，即使這樣的一部電影成功地像它所處理的現(xiàn)實(shí)那樣從根本上脫節(jié)和令人不滿意，它也永遠(yuǎn)不會(huì)超過(guò)像這個(gè)拙劣的旅行鏡頭那樣的再創(chuàng)造“”貧窮和虛假。）

　　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.

（聲音3：現(xiàn)在有些人以自己是電影作者為榮，就像其他人是小說(shuō)作家一樣。他們甚至比小說(shuō)家更落后，因?yàn)樗麄儧](méi)有意識(shí)到個(gè)體表達(dá)在我們這個(gè)時(shí)代的分解和枯竭，也沒(méi)有意識(shí)到被動(dòng)藝術(shù)的終結(jié)。他們的真誠(chéng)受到贊揚(yáng)，因?yàn)樗麄儜騽』兀愿鼈€(gè)人的深度，將他們生活所組成的習(xí)俗戲劇化。人們?cè)谡務(wù)摻夥烹娪霸?。但是，如果再解放一種藝術(shù)，讓湯姆、迪克或哈里可以快樂(lè)地表達(dá)他們的奴性情緒，那對(duì)我們又有什么關(guān)系呢？唯一有趣的冒險(xiǎn)是解放日常生活，不僅從歷史的角度來(lái)看，而且對(duì)我們來(lái)說(shuō)也是如此。這就導(dǎo)致了異化交流形式的消亡。電影院也必須被摧毀。）

　　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.

（聲音2：歸根結(jié)底，明星是由我們對(duì)他們的需要?jiǎng)?chuàng)造出來(lái)的，而不是由他們的才華或缺乏才華，甚至不是由電影業(yè)或廣告業(yè)創(chuàng)造的。悲慘的需求，陰郁的，匿名的生活，想要將自己擴(kuò)展到電影生活的維度。銀幕上的想象生活就是這種現(xiàn)實(shí)需求的產(chǎn)物。恒星就是這種需求的投射。）

　　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.

（中場(chǎng)休息時(shí)的廣告畫面比任何其他畫面都更適合喚起生活的間歇。

要真正描述這個(gè)時(shí)代，無(wú)疑有必要展示許多其他的東西。但這有什么意義呢？

與其給舊世界增添更多的奇觀和記憶的廢墟，不如把握住已經(jīng)做了什么和還有什么要做的事情的總體情況。

1.這部電影喚起了情境主義運(yùn)動(dòng)起源時(shí)的小說(shuō)家經(jīng)歷，以20世紀(jì)50年代初小說(shuō)家經(jīng)常光顧的巴黎地區(qū)的鏡頭開(kāi)場(chǎng)。）