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。這是紀錄片的最后一個鏡頭，當這個女人撫摸肥皂露出曖昧笑容的時候，她展示了什么，或者說電影展示了什么？是生活的美好，是欲望的純凈，還是產(chǎn)品的誘惑？居伊·德波用這樣一個鏡頭揭示的卻是某種虛幻的生活，它是廣告，是為了消費產(chǎn)品，而在可能的消費中，連裸體女孩也一起消費了，于是，鏡頭的背后是一種“悲慘的需要”，是“凄涼的、匿名的表達”，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)做過的事情和還有待做的事情。”

最后的肥皂廣告，在某種程度上卻來源于另一部電影的鏡頭，也是女人，也是洗澡，卻并沒有展示肥皂的光滑與潔白，洗完澡后那女人的一句臺詞是：“我們分居了。歲月流逝，我們什么也沒有改變?！蹦敲催@是一部藝術(shù)電影嗎？當女人不再是產(chǎn)品的代言人，在那個分居的故事里，是不是遠離了消費？而當歲月流逝和生活變遷寫在女人眼睛里的時候，她也不是在這身心的暫時放松中在“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，而它們的共同特點是用明星來制造生活，制造情調(diào)，“明星就是這種需求的投影?！彼鼉H僅是一種投影，在居伊·德波看來，這種投影終結(jié)了真正的藝術(shù)，抹除了個人的深度，甚至將生活所包含的習俗戲劇化，當明星成為我們的需要，當影像制造了虛幻，電影只不過表達了人們的奴性情感，甚至讓人們在異化的交流方式中成為一鐘商品，在和日常生活脫離了聯(lián)系的現(xiàn)實中，“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，當他開始轉(zhuǎn)向情境主義的時候，需要回答的是“應該廢除什么”，就像電影臺詞所說“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、體面職業(yè)的社區(qū)里，而其實他們生活著，卻沒有意識到他們的真實生活：“通常在黑暗中摸索；被他們行為的后果所淹沒；每時每刻群體和個人發(fā)現(xiàn)自己面對著他們沒有希望的結(jié)果?！睕]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，“正如眼睛對許多事物都有模糊的視野，只能清楚地看到一個事物，所以意志只能不完全地朝著不同的對象努力，并且一次只能完全地愛一個人?！睙o法清晰地看見真實的生活，于是在第二天早晨醒來時，又走在這條街上，又一次面對同樣的疲憊和寒意，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，在居伊·德波看來，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擺脫這樣的生活，而是用虛幻來消費時間，消費現(xiàn)實，消費激情，甚至消費自己，就像那塊肥皂，看起來光滑，看起來潔白，看起來無限誘人，只不過是女人拿在手里的產(chǎn)品。

人也成為一種產(chǎn)品，沒有主觀深刻性，就只能成為一個異化的物，只能被社會所消費，他們說：“我們的生活是一個旅程?！眳s總是不想破壞這個旅程；他們說：“我們尋求我們的通行證……”卻總是被禁錮在產(chǎn)品的現(xiàn)實里；他們說：“沒有人指望未來?！钡亲约簠s把未來抹除了。但不僅僅是他們自己，這個社區(qū)，這個城市，這個社會，一樣帶入了消費的現(xiàn)實，一樣制造了虛幻的生活，這便是居伊·德波所說的“系統(tǒng)”：“所有的娛樂和活動都受到系統(tǒng)的質(zhì)疑?！庇谑撬^的幸福觀念被全面批判，并且以實際行動來蔑視這些人的“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，永遠迷失了方向。”他們失去了自由，在一個封閉的圈子里練習自由，而且女孩子被禁錮在18歲這個年齡里，在之前他們受到家庭的合法性控制，“她們經(jīng)常被那個可憎機構(gòu)的捍衛(wèi)者重新抓獲?！彼齻冎皇窃凇白盍钊藚拹旱哪切﹦游锉Ｗo者之下”生活；他們處在經(jīng)濟的邊緣，他們被政治所遺忘，他們被技術(shù)控制……而所有這一切，使他們成為被消費的人，于是這個時代就成為居伊·德波所說的“混亂的總體”。

這便是他所批判的景觀社會，個人只不過是社會的鏡像，只不過是“社會功能原子化”的犧牲品，只不過是產(chǎn)品消費的一種沉淪，“藝術(shù)的衰落和舊道德價值觀的形成，形成了我們的社會學背景?！碑斔麄冇蒙唐方?jīng)濟觀念來譴責審美活動，當他們用野心和權(quán)力來隔離日常生活，當他們?nèi)∠藗€體的自由和主觀深刻性，實際上他們就是統(tǒng)治階級。所以從鏡頭下的“微型社區(qū)”來觀察，需要的是突圍，是解放，甚至是革命。

但是，居伊·德波并不要求以個人的方式來激發(fā)政治熱情，“經(jīng)驗事實的知識，只要不是通過整合到整體中來具體化的，即僅僅允許部分和抽象問題的疊加，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。”在他看來，首先是通過矛盾看見景觀社會的種種問題，“正如一個人不能根據(jù)他自己的觀念來判斷一個人一樣，一個人也不能根據(jù)自己的意識來判斷這種轉(zhuǎn)變的時期；相反，一個人必須通過物質(zhì)生活的矛盾，通過社會環(huán)境的沖突來解釋這種意識?！倍谶@個基礎上，以整體性來對抗整體性，去除經(jīng)驗主義，去除個人主義，“人是創(chuàng)造世界統(tǒng)一的人，但人卻把自己擴展到了世界各地。人們在他們周圍什么也看不到，不是他們自己的形象；一切都是他們自己的。他們的風景很生動?！?/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來，他們在酒吧里，喝著酒抽著煙，討論著話題，眼光中即使有迷離，也會成為一種解構(gòu)和革命的力量，因為一切必須結(jié)束了，因為一切必須開始了，“無產(chǎn)階級專政是一場絕望的斗爭，血腥的、無血的、暴力的和平的、軍事的、經(jīng)濟的、教育的和行政的，反對舊世界的勢力和傳統(tǒng)?！彼麄冇涡?，他們示威，他們巷戰(zhàn)，他們結(jié)合成整體，“在這個國家，再一次反抗的是秩序的人。他們增強了他們的力量?！倍@何嘗不是真實現(xiàn)實？何嘗不是日常生活？“誰害怕生命，害怕黑夜，害怕被帶走，害怕被保存？”

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

時間是日常生活的時間，自由是日常生活的自由，藝術(shù)是日常生活的藝術(shù)，革命當然也是日常生活的革命，而一部紀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：短時間內(nèi)某幾個人的經(jīng)過，它構(gòu)成了生動的畫面，沒有肥皂，沒有明星，沒有虛幻，因為這正是“已經(jīng)做過的和還有待做的事情?！?/p>

　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)：這個街區(qū)(1)是為了維護小資產(chǎn)階級的可悲尊嚴，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，不受街道的影響。

這個街區(qū)一直沒變。這是我們故事的奇怪背景，在那里，對一個社會的所有消遣和工作的系統(tǒng)質(zhì)疑，對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自己的充分和具體的表達。）

　　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))：人類沒有完全意識到他們的現(xiàn)實生活-通常在黑暗中摸索；被他們行為的后果淹沒；每時每刻，群體和個人都發(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)自己的觀念來判斷一個人一樣，我們也不能根據(jù)他們自己的意識來判斷這樣的過渡時期，相反，我們必須通過物質(zhì)生活的矛盾來解釋意識，通過社會條件和社會生產(chǎn)力量的沖突來解釋意識。

在控制自然方面取得的進步還沒有與相應的日常生活解放相匹配。青年在各種聽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...

（我們的相機為您捕捉到了臨時微型社會的幾個方面。經(jīng)驗事實的知識只要不是通過融入整體而具體化，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題，從而達到它們的具體本質(zhì)，并隱含地理解它們的意義。

這群人處于經(jīng)濟的邊緣。它傾向于純消費的角色，首先是那個時代的自由消費。

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它們的手段。

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

沒有人早點上床睡覺。關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。” “我們在尋找我們的通道……”）

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

（聲音1：被遺棄的文學仍然對新的情感表達起到了延緩作用。）

　　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：在這個經(jīng)常穿越的迷宮里，早晨的疲憊和寒冷，就像一個我們必須解開的謎團。這是一個鏡子般的現(xiàn)實，我們必須通過它來發(fā)現(xiàn)現(xiàn)實的潛在豐富性。

河岸上的黃昏又開始了；還有愛撫；還有一個不重要的世界的重要性。就像眼睛看不清很多東西，只能看清楚一個一樣，意志也只能不完全地朝著不同的對象努力，一次只能完全愛一個。）

　　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)：沒有人指望未來。以后永遠不可能在一起，或者在其他任何地方。不會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：時間的拒絕和變老的拒絕，自動限制了在這個狹小的、偶然的區(qū)域內(nèi)的相遇，在那里，所缺少的被認為是無法彌補的。不工作的謀生手段的極端不穩(wěn)定是這種不耐煩的根源，這種不耐煩使過度行為成為必要，而斷絕關系是必然的。）

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

（聲音2：如果不對一個組織的所有語言形式提出質(zhì)疑，就不會真正對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：當自由在一個封閉的圈子里實踐時，它就會淡化成一個夢，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。任何時候，“平凡生活”都可能再次盛行。游戲的地域限制比時間限制更引人注目。任何博弈都發(fā)生在其空間域的等高線內(nèi)。在這個社區(qū)周圍，圍繞著它短暫的、受到威脅的靜止不動，延伸著一座鮮為人知的城市，在那里，人們只是偶然相遇，永遠迷失了方向。

那些在那里找到路的女孩，因為她們在法律上一直處于家庭的控制之下，直到18歲，經(jīng)常被那個令人憎惡的機構(gòu)的捍衛(wèi)者重新抓獲。他們一般都被關在那些造物主的看守之下，在所有壞社會的惡果中，修女是最丑陋、最令人厭惡的。

紀錄片之所以如此容易理解，通常是因為其主題的武斷限制。他們描述了社會功能的原子化和產(chǎn)品的孤立化。相反，人們可以設想，沒有被分解成作品的時刻的全部復雜性，一個運動中不容分解地包含事實和價值，其意義尚未顯現(xiàn)的時刻。

那么紀錄片的主題就是這個混亂的整體。）

　　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：這個時代已經(jīng)到了知識和技術(shù)手段的高度，使得直接構(gòu)建解放的情感和現(xiàn)實存在的方方面面成為可能，而且越來越有必要。這些優(yōu)越的行動手段的出現(xiàn)，已經(jīng)譴責了那些野心和權(quán)力都已經(jīng)過時的審美活動。由于清算商品經(jīng)濟的計劃拖延了，這些手段仍然沒有得到使用。藝術(shù)的衰敗和昔日風俗的所有價值觀的衰敗構(gòu)成了我們的社會學背景。統(tǒng)治階級壟斷了我們需要控制的工具，以實現(xiàn)我們這個時代的集體藝術(shù)，這把我們排除在了官方致力于描繪和重復過去的文化作品之外。

一部關于這一代人的藝術(shù)電影只能是一部沒有真正創(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.

（每個人都不假思索地一勞永逸地沿著學到的路走，去他們的工作，去他們的家，去他們可預測的未來。對他們來說，責任已經(jīng)變成了一種習慣，習慣成了一種責任。他們沒有看到他們城市的不足之處。他們認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。幾個地方的氛圍給了我們一個建筑未來的力量的暗示，它將有必要創(chuàng)造出來，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有改變過的東西。城市環(huán)境像報紙一樣猛烈地宣揚統(tǒng)治社會的秩序和品味。是人統(tǒng)一了世界，但人卻無處不在。人們看不到他們周圍任何不是他們自己形象的東西；一切都在向他們訴說著他們自己。他們的風景是鮮活的。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，必須通過一場統(tǒng)一的斗爭來改變一切，或者什么都不做。聯(lián)系群眾是必要的，但我們卻睡得團團轉(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：無產(chǎn)階級專政是一場與舊世界勢力和傳統(tǒng)作斗爭的絕望斗爭，流血與不流血，暴力與和平，軍事與經(jīng)濟，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：在這個國家，又一次是有秩序的人造反了。他們已經(jīng)加強了他們的力量。他們可以隨心所欲地加劇統(tǒng)治條件的丑惡。他們用過去的葬禮來點綴他們的制度。）

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

（聲音2：歲月，就像一個瞬間延伸到這一點，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的地方冰凍地再現(xiàn)，符合一個時代的品味和幻想，隨之而來。）

　　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：我們沒有制造的事件，別人對我們不利的事件的出現(xiàn)，現(xiàn)在迫使我們意識到時間的流逝，它的結(jié)果，我們自己的愿望變成了事件。過去和現(xiàn)在的不同之處恰恰在于它遙不可及的客觀性；沒有更多的應該；存在被消耗得如此之多，以至于它已經(jīng)不復存在。細節(jié)已經(jīng)消失在時間的塵埃中。誰害怕生活，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。我們被吞沒了。我們分開了。幾年過去了，我們什么都沒有改變。）

　　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了類似的夜晚。這是一次持續(xù)了很長時間的步行。）

　　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)實那樣從根本上脫節(jié)和令人不滿意，它也永遠不會超過像這個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，就像其他人是小說作家一樣。他們甚至比小說家更落后，因為他們沒有意識到個體表達在我們這個時代的分解和枯竭，也沒有意識到被動藝術(shù)的終結(jié)。他們的真誠受到贊揚，因為他們戲劇化地，以更個人的深度，將他們生活所組成的習俗戲劇化。人們在談論解放電影院。但是，如果再解放一種藝術(shù)，讓湯姆、迪克或哈里可以快樂地表達他們的奴性情緒，那對我們又有什么關系呢？唯一有趣的冒險是解放日常生活，不僅從歷史的角度來看，而且對我們來說也是如此。這就導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，明星是由我們對他們的需要創(chuàng)造出來的，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，想要將自己擴展到電影生活的維度。銀幕上的想象生活就是這種現(xiàn)實需求的產(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.

（中場休息時的廣告畫面比任何其他畫面都更適合喚起生活的間歇。

要真正描述這個時代，無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動起源時的小說家經(jīng)歷，以20世紀50年代初小說家經(jīng)常光顧的巴黎地區(qū)的鏡頭開場。）