Voice 1 (male professional announce r typ e) Th is ne ighborhood(1) w as made for the wretche d dignity of the petty bourgeo isie, for respect able occupations and in tellectual tourism. The seden tary p opulation of the u pper f loor s was sheltered from the influences of the s treet. This neighborhood has remain ed the same. It was the stra nge s etting of our story, where a sys tematic 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 profun dity. They were i nterested in nothing but an ad equate and concrete expression o f themsel ves. Voice 2 (Debord, monotone) Human beings are not fu lly consc ious of their real lif e - usua lly groping in the dark; overwhelmed by the consequences of their acts; at every mome nt groups and indiv iduals find themselve s confro nted w ith results they have not wished. Voice 1 They s aid that obliv ion wa s their rul ing passion . They wanted to reinvent everything each da y; t o become the masters and posses sors of their own lives. Just as one doe s not judge a ma n according to t he conception he has of himself, one cannot judge such periods of transition according to thei r own consciou sness; on the con trar y, one m ust exp lain the consc iousness through the contradictions of ma terial life, through the conflict bet ween social c onditions and the forces of soci al production. The progress a chieved in the domin ation of nature wa s not ye t matched b y a corresponding li beration of everyday life. Youth passed away among the va rious control s of resignation. Our camera has captured for you a few aspect s of a provisional m icrosociety. The knowledg e of empirical f acts remains abs tract and super ficial as lo ng as i t is not c oncretize d by its integrat ion into the whole ” which alone permits the su persession of partial and abstract problem s so as to arrive at th eir concrete essence, and im plicitly a t their meaning. This group w as on the margins of the economy. It tended toward a role of p ure consumpt ion, and first of al l the free consumptio n of its time. It thu s found its elf dir ectly engaged in qualitative variation s of everyday life b ut dep rived of any means to i ntervene i n the m. The group rang ed over a very sma ll area . Th e same times brough t them back to the same places. No one we nt to bed early. Discus sion on the meaning of all this contin ued... Voic e 2 Our life is a journey ” In the wint er and the night. ” We seek o ur passag e...� Voice 1 T he aba ndoned literature neverthe less exer ted a delaying action o n new affective formulations. V oice 2 There was the fatigue and the cold of the morning in this much-tr aversed l abyrinth, like an eni gma that we had to resolve. It was a loo king-glass reality through which we ha d to discov er the pot ential richness of reality. On the bank of the river evening bega n once again; and caresses; and the importance of a world with out importa nce. Just as t he eyes have a blurred vision of many things and can see only on e cle arly, so the will ca n strive o nly i ncompletely toward diverse obje cts and can completely love only o ne at a time . Vo ice 3 (young gir l) No one counted on th e future. It wo uld n ever be possible t o be to gether l ater, or anywhere else . There would never be a greater freedom. Voice 1 The refusal of time and of grow ing old automatical ly limited encounters in this narrow, c ontingent zone, where what was lacking was fe lt as irrepa rable. The extreme precario usness o f the means of ge tting by without working was at the root of this impatience which made excesses necessar y and breaks def initive. V oice 2 One never really contes ts an or gani zation of e xistence with out contesting all of that organiza tion's form s of language. Voice 1 Wh en freedom i s practiced in a closed circle, it fa des into a dream, becom es a mere repres entation of itself. The ambiance of p lay is by nature unstable. A t any mom ent ordinary life� can prevail onc e again. The geographical limita tion of play is even more s triking th an its temporal limitation. A ny g ame takes place within the co ntours of its spatial domain. Around the neighborh ood, around its fleetin g and threat ened i mmobility, s tretched a half-known city where people met only by chance, lo sing their way for ever. The girls who found their way there, becau se the y were legally u nder the contro l of their families until the age of eighteen, were o ften rec aptured by the de fender s of that detestable in stitution. They were genera lly confined under the guard o f those creatures who among al l the bad products of a bad society are the mos t ugly and repugnant nuns . What usually makes docu mentari es so easy to understand is the arbitrary limitation of their subject matter. The y describe the ato mizat ion of socia l functions and the is olation of their products. One can, in contra st, envisage the entire compl exity of a moment which is not res olved into a work, a moment whose movement indissolubly con tains facts and values and whose meaning does not yet appear. The subject matter of the doc umentary wou ld then be thi s confused totality. Voice 2 The era had arrived at a level of knowledge and technica l means t hat made possible, and incr easin gly necessary, a direct con struction of a ll aspec ts of a liberate d affecti ve and practical existence. The appeara nce of these superior means of act ion, sti ll unused because of the delays in t he project of liquidating the commodity econom y, had already condem ned aesthet ic activity, whose ambitions and powers were both outdated. The decay o f art and of all t he va lues of former mores had form ed our soc iologic al backgroun d. The ruling class' s monop oly o ver the instruments we nee ded to con trol in orde r to real ize the collective art of our time had ex clud ed us from a cultu ral production officia lly devoted to illustrating and repeati ng the past. An art fi lm o n this ge nerat ion ca n only be a film on its absence of real creations. Everyon e unthinkingly followed the paths learned once and f or all, to their work and t heir h ome, to their predictable fu ture. For them duty h ad already become a habit, and habit a d uty. They d id not se e the deficiency of the ir city. They thought the defici ency of their life w as natural. We wanted to break out of this conditioning, in quest of anothe r use o f the urban landscape, in quest of new passions. The atmosphere of a few pl aces gave us intimations of the future powers of an archite cture it would be necessary to create to be t he suppor t and fr amework for less medioc re games. We could ex pect nothing o f anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society j ust as violently as the newspa pers. It is man who make s the unit y of the world, but man has extended himself everywhere. People can see nothing aro und them that i s not their own image; ever ything speaks to them of themselv es. Their very l andsc ape is al ive. There were obsta cles everyw here. There w as a cohesion in the obstac les of all types . They m aintained the coherent r eign of pove rty. Everything being connected , it was ne cessary to change everyt hing by a unita ry struggl e, or n othing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a despera te struggle , bloody and bloodless, violent a nd peaceful, mil itary and economic, educational and admini strative, against t he forces and tr adit ions of the old world. Voic e 1 In this country it is once again the men of o rder who have reb elled. They have rei nfor ced thei r power. They ha ve b een able to aggrava te the grotesquene ss of the ruling co nditions accor ding to their wil l. They h ave embellished thei r system with the f uner eal cere monies of the pa st. Voice 2 Years, like a single instant prolonged to this point, co me to an end. Voice 1 What was directl y lived reap pears froze n in the distance , fit into the ta stes and illusions of an era, car ried awa y with it. Voice 2 The appearan ce of events that we have not made, that others have made against us, now o bliges us to be aware of th e passage of time, its results, t he transformation of our own d esires into event s. Wh at different iates the past from the present is prec isely its ou t-of-r each ob jectivity; there is no more should -be; being is so consumed that it has ceas ed to ex ist. The details are already lost in the dust of time. Who was afraid of life, afraid of the nigh t, afra id of being taken, afraid of being kept Voice 3 What should be abolishe d continues , and we continu e to wear away with it. We are engulfed. We are sepa rated. The y ears pass and we haven 't changed anythin g. Voice 2 Once again morni ng in the same stre ets. Onc e again t he fatigu e of so man y simila rly passed n ights. It is a walk that has lasted a lo ng time. Voice 1 Real ly hard to drink more. Voice 2 Of course one might ma ke a film of it. But eve n if such a film succeeds in being as fundamentally disconnec ted and u nsatisfy ing as the reality it deals with, it will nev er be more t han a re-creatio n ” p oor a nd false like this bo tched traveling shot. Voice 3 There are now people who pride themse lves on be ing au thors of films, as others were authors of novels. They are even more backward than the novel ists because the y ar e un aware of the dec omposition and exhaustion of indiv idual expression in our time, ignorant o f the e nd of the arts of pa ssivity. Th ey are praised fo r their sincerity sinc e they dramatize , with more personal depth, the conv entions of which thei r life cons ists. There is talk of the liberatio n of the cinema. B ut what do es it matter to us if one more art is libera ted through which Tom, Dick or Harr y can jo yously express t heir slavish sentime nts The on ly interes ting ven ture is the liber ation of everyday life, not only i n the perspectives of history but for us and right away. This entails the with ering away of al ienat ed forms of comm unication. T he 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 th eir talent o r lack of ta lent or e ven by the film indus try or advertising . Miserable need, dismal, anonymous l ife that would like to expand itself to the dimensi ons of cinema l ife. Th e imaginary life on the screen is t he pro duct of t his re al need. The star is the projection of this need. The images of the advertisements during the intermissions are more su ited than any others for evoking an interm ission of life. To really des cribe this er a it would no doubt be necessa ry to show many other things. But what would be the point B etter t o grasp th e totality of what has bee n done and what remains to be d one than to add more ruins to th e old world of the s pectacle and of m emories . 1. This film, which evokes the lettrist e xperiences at the origin of the situationist movement, opens with shots of the Paris distri ct frequented by the l ettrists in the early 1950s .
精彩剧情/对白：“王妃，很多东西呢，都是要有一个度的。 这药泥，刚用的时候，效果是 最明显的，但是它也只是能改善皮肤，让皮肤更 好一点罢 了。往后面呢，效果就会渐渐的比较细腻 了。然后这个，最好是五一次，不能做的，否则 皮肤会承受
“既然如此，那这 事情便定下来吧，早日定下来，也 好做安排。在京城过年的话，大哥他 们是要过来的， 路上需要不少时间，准备要充分呢。如今咱 们定的早，就让 郑一过去将人接过来， 郑一熟悉路，这样他们过来 也安心一些， 不必担心那么多。”
“至于合作方式，我倒是并不在意，不管是卖方 子给罗大人也 好，还是和罗大人合作 也罢，我们都是 可以的，只是如 果是合作的话，我无法赞同罗大饶方式， 我要按照 自己的方式来做，如果 罗大人不同意 依着我的方式来做 ，那么只有卖方子。”
“今日除了猎物卖了二两银子之外，她带去的那些 香料也卖了，一共是十两银子，如今我们手里头就 等于有十三两银子 了，何况酒楼还了，那些香 料有多少要多少，就是这个价钱，往后还能挣不少，冬 日里修建房子是完全够聊。”
“你懂什么！秦小姐 这只不过是在自保而已。 你刚才也看 到了，明明是那个保镖先想要将秦小姐的手给废掉的，她现在提出这种要求只不过是以 牙还牙而已，有什么过分的？如果是你，别人欺负到你头上 来了，难道你还要任由他欺负 吗？”
