剧情介绍
片名：关于在短时间内的某几个人的经过
别名：关于在短时间内的某几个人的经过免费在线播放
电影类别:剧情片
连载状态：完结
发行年份：1959
首映地区：法国
导演：居伊·德波
演员：内详
更新时间：2024-05-23 17:35
常见问题:
1、《关于在短时间内的某几个人的经过》讲述的是什么故事？
神马电影网网网友：
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.
2、《关于在短时间内的某几个人的经过》这部剧中的台词，你怎么看？
秋霞电影网网友：最近《关于在短时间内的某几个人的经过》上映了，没想到三国影院（http://www.china815.net）非常地慷慨，一来就放全集，观众们可以一口气从第一集看到大结局。这部剧中演员：内详的高颜值是一大亮点之外，它里面的台词也非常的搞笑啊！台词沙雕中带着可爱。
3、被称为剧情片的开先河之作的《关于在短时间内的某几个人的经过》，是居伊·德波最好的作品吗?
从居伊·德波斩获剧情片最佳导演 我就觉得这部《关于在短时间内的某几个人的经过》是他最好的电影。虽然居伊·德波后来还拍出来了评价特别好的电影，但是《关于在短时间内的某几个人的经过》是他电影的代表作品。
4、《关于在短时间内的某几个人的经过》为什么可以成为经典？
提起法国电影，人们就肯定会说出《关于在短时间内的某几个人的经过》的名字。这部由居伊·德波导演，内详主演的《关于在短时间内的某几个人的经过》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。为何会这么说，我想，就连内详导演和内详，都没想到这部剧情片会得到这样好的反响。居伊·德波先生曾说过，这是一群失意的人凑到了一起创作出来的一部作品。因为在《关于在短时间内的某几个人的经过》开拍之前，内详已经有4年无戏可拍，而内详主演的电影，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在电影中投入的热情，是我们难以想象的，其实《关于在短时间内的某几个人的经过》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典剧情片，也成就了他们自己！
5、《关于在短时间内的某几个人的经过》当初为何能够火遍全法国？
在早年的电影产业发展线路上，法国的众多电影作品在如今的娱乐圈和电影界之中依旧是十分经典的作品，特别是内详精湛演技更是让我们对于这些剧情片作品具有着怀念之情。在居伊·德波的个人艺术事业发展线路上，《关于在短时间内的某几个人的经过》这一部剧情片也是他达到巅峰状态的作品之一，正是制作水平和演员上的选择才让这一部剧情片作品在当年红遍法国。
6、剧情片《关于在短时间内的某几个人的经过》在法国电影中处于怎样的地位？
1959年电影《关于在短时间内的某几个人的经过》开创了法国电影的先河!电影《关于在短时间内的某几个人的经过》是法国电影中真正最好的剧情片!在那璀璨夺目的剧情片黄金时代，《关于在短时间内的某几个人的经过》无疑就是一颗耀眼的明珠。《关于在短时间内的某几个人的经过》的大火让内详名声大噪。所以我觉得《关于在短时间内的某几个人的经过》 就是法国电影的一部巅峰之作，只能被模仿，绝对没有可能被超越。
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