该片是由居伊·德波执导的剧情片,于1959年上映，主要讲述了:Voice 1 (male profes.sional announce.r type) This ne.ighborhood(1.) was .made for the wretched. di.gni.ty of the petty. bourgeoisie, for res.pectable occupations .and intellectual tourism. T.he sedentary popul.ation .of the upper. floors was sheltered. from .the influences .of .the street. This neighborho.od has remained. the same. It w.as the stran.ge set.ting of our story, wh.ere. a .systematic ques.tioning of all the di.versions and works of. a society, a total critiqu.e of its idea of h.appine.ss, was expr.essed in acts.　　These. peopl.e also scorned .sub.jective profundity. They we.re interested i.n nothing but a.n adequate a.nd con.crete expression of t.hem.sel.ves.　　Voice 2 (.Debord, monotone) Hum.an beings are not ful.ly conscious of their real .life - usually gro.ping i.n the dark; .overwhelmed by the co.nseque.nces of their a.cts.; at every moment groups an.d individuals f.ind themselves .confronted w.ith re.sults they have not w.ish.ed..　　Voice 1 They .said that oblivion wa.s their ruling passio.n. They wanted to reinvent .everything each da.y; to .become the m.asters and possessors. of th.eir own lives.　.　Ju.st as one does not judge a .man according t.o the conceptio.n he has of .himsel.f, one cannot judge s.uch. pe.riods of transi.tion according to the.ir own consciousness;. on the contrary, one must .explain the consci.ousnes.s through th.e contradictions of m.ateria.l life, through. th.e conflict between social c.onditions and t.he forces of so.cial product.ion.　　.The progress achieved. in. th.e domination of. nature was not yet m.atched by a correspon.ding liberation of everyday. life. Youth passe.d away. among the v.arious controls of re.signat.ion.　　Our camer.a h.as captured for you a few a.spects of a pro.visional micros.ociety.　　The. knowl.edge of empirical fac.ts .rem.ains abstract a.nd superficial as lon.g as it is not concre.tized by its integration in.to the whole ” whi.ch alo.ne permits t.he supersession of pa.rtial .and abstract pr.obl.ems so as to arrive at thei.r concrete esse.nce, and implic.itly at thei.r mean.ing.　　This group was .on .the. margins of the. economy. It tended t.oward a role of pure .consumption, and first of a.ll the free consum.ption .of its time.. It thus found itself. direc.tly engaged in .qua.litative variations of ever.yday life but d.eprived of any .means to int.ervene. in them.　　The group .ran.ged. over a very sm.all area. The same ti.mes brought them back. to the same places. No one. went to bed early.. Disc.ussion on th.e meaning of all this. conti.nued...　　Voice .2 O.ur life is a journey ” In t.he winter and t.he night. ” We .seek our pas.sage....�　　Voice 1 The aband.one.d l.iterature never.theless exerted a del.aying action on new a.ffective formulations.　　Voi.ce 2 There was the. fatig.ue and the c.old of the morning in. this .much-traversed .lab.yrinth, like an enigma that. we had to reso.lve. It was a l.ooking-glass. reali.ty through which we h.ad .to .discover the po.tential richness of r.eality.　　On the bank .of the river evening began .once again; and ca.resses.; and the im.portance of a world w.ithout. importance. Ju.st .as the eyes have a blurred .vision of many .things and can .see only one. clear.ly, so the will can s.tri.ve .only incomplete.ly toward diverse obj.ects and can complete.ly love only one at a time..　　Voice 3 (young g.irl) N.o one counte.d on the future. It w.ould n.ever be possibl.e t.o be together later, or any.where else. The.re would never .be a greater. freed.om.　　Voice 1 The refu.sal. of. time and of gr.owing old automatical.ly limited encounters. in this narrow, contingent. zone, where what .was la.cking was fe.lt as irreparable. Th.e extr.eme precariousn.ess. of the means of getting by. without workin.g was at the ro.ot of this i.mpatie.nce which made excess.es .nec.essary and brea.ks definitive.　　Voice. 2 One never really c.ontests an organization of .existence without .contes.ting all of .that organization's f.orms o.f language.　　Vo.ice. 1 When freedom is practice.d in a closed c.ircle, it fades. into a drea.m, bec.omes a mere represent.ati.on .of itself. The .ambiance of play is b.y nature unstable. At. any moment ordinary life� .can prevail once a.gain. .The geograph.ical limitation of pl.ay is .even more strik.ing. than its temporal limitati.on. Any game ta.kes place withi.n the contou.rs of .its spatial domain. A.rou.nd .the neighborhoo.d, around its fleetin.g and threatened immo.bility, stretched a half-kn.own city where peo.ple me.t only by ch.ance, losing their wa.y fore.ver.　　The girls. wh.o found their way there, be.cause they were. legally under .the control .of the.ir families until the. ag.e o.f eighteen, wer.e often recaptured by. the defenders of tha.t detestable institution. T.hey were generally. confi.ned under th.e guard of those crea.tures .who among all t.he .bad products of a bad socie.ty are the most. ugly and repug.nant nuns.　　.What u.sually makes document.ari.es .so easy to unde.rstand is the arbitra.ry limitation of thei.r subject matter. They desc.ribe the atomizati.on of .social funct.ions and the isolatio.n of t.heir products. .One. can, in contrast, envisage. the entire com.plexity of a mo.ment which i.s not .resolved into a work,. a .mom.ent whose movem.ent indissolubly cont.ains facts and values. and whose meaning does not. yet appear. The s.ubject. matter of t.he documentary would .then b.e this confused. to.tality.　　Voice 2 The era ha.d arrived at a .level of knowle.dge and tech.nical .means that made possi.ble., a.nd increasingly. necessary, a direct .construction of all a.spects of a liberated affec.tive and practical. exist.ence. The ap.pearance of these sup.erior .means of action., s.till unused because of the .delays in the p.roject of liqui.dating the c.ommodi.ty economy, had alrea.dy .con.demned aestheti.c activity, whose amb.itions and powers wer.e both outdated. The decay .of art and of all .the va.lues of form.er mores had formed o.ur soc.iological backg.rou.nd. The ruling class's mono.poly over the i.nstruments we n.eeded to con.trol i.n order to realize th.e c.oll.ective art of o.ur time had excluded .us from a cultural pr.oduction officially devoted. to illustrating a.nd rep.eating the p.ast. An art film on t.his ge.neration can on.ly .be a film on its absence of. real creations..　　Everyone unt.hinkingly fo.llowed. the paths learned on.ce .and. for all, to th.eir work and their ho.me, to their predicta.ble future. For them duty h.ad already become .a habi.t, and habit. a duty. They did not. see t.he deficiency o.f t.heir city. They thought the. deficiency of .their life was .natural. We .wanted. to break out of this. co.ndi.tioning, in que.st of another use of .the urban landscape, .in quest of new passions. T.he atmosphere of a. few p.laces gave u.s intimations of the .future. powers of an a.rch.itecture it would be necess.ary to create t.o be the suppor.t and framew.ork fo.r less mediocre games.. W.e c.ould expect not.hing of anything we h.ad not ourselves alte.red. The urban environment .proclaimed the ord.ers an.d tastes of .the ruling society ju.st as .violently as th.e n.ewspapers. It is man who ma.kes the unity o.f the world, bu.t man has ex.tended. himself everywhere. .Peo.ple. can see nothin.g around them that is. not their own image;. everything speaks to them .of themselves. The.ir ver.y landscape .is alive. There were .obstac.les everywhere.. Th.ere was a cohesion in the o.bstacles of all. types. They ma.intained the. coher.ent reign of poverty.. Ev.ery.thing being con.nected, it was necess.ary to change everyth.ing by a unitary struggle, .or nothing. It was. neces.sary to link. up with the masses, .but we. were surrounde.d b.y sleep.　　Voice 3 The dicta.torship of the .proletariat is .a desperate .strugg.le, bloody and bloodl.ess., v.iolent and peac.eful, military and ec.onomic, educational a.nd administrative, against .the forces and tra.dition.s of the old. world.　　Voice 1 In t.his co.untry it is onc.e a.gain the men of order who h.ave rebelled. T.hey have reinfo.rced their p.ower. .They have been able t.o a.ggr.avate the grote.squeness of the rulin.g conditions accordin.g to their will. They have .embellished their .system. with the fu.nereal ceremonies of .the pa.st.　　Voice 2 Ye.ars., like a single instant pro.longed to this .point, come to .an end.　　Voi.ce 1 W.hat was directly live.d r.eap.pears frozen in. the distance, fit in.to the tastes and ill.usions of an era, carried a.way with it.　　Voic.e 2 Th.e appearance. of events that we ha.ve not. made, that oth.ers. have made against us, now .obliges us to b.e aware of the .passage of t.ime, i.ts results, the trans.for.mat.ion of our own .desires into events. .What differentiates t.he past from the present is. precisely its out.-of-re.ach objectiv.ity; there is no more. shoul.d-be; being is .so .consumed that it has ceased. to exist. The .details are alr.eady lost in. the d.ust of time. Who was .afr.aid. of life, afrai.d of the night, afrai.d of being taken, afr.aid of being kept　　Voice 3 .What should be abo.lished. continues, .and we continue to we.ar awa.y with it. We a.re .engulfed. We are separated.. The years pass. and we haven't. changed any.thing..　　Voice 2 Once again .mor.nin.g in the same s.treets. Once again th.e fatigue of so many .similarly passed nights. It. is a walk that ha.s last.ed a long ti.me.　　Voice 1 Really h.ard to. drink more.　　V.oic.e 2 Of course one might mak.e a film of it.. But even if su.ch a film su.cceeds. in being as fundamen.tal.ly .disconnected an.d unsatisfying as the. reality it deals wit.h, it will never be more th.an a re-creation ”. poor .and false li.ke this botched trave.ling s.hot.　　Voice 3 T.her.e are now people who pride .themselves on b.eing authors of. films, as o.thers .were authors of novel.s. .The.y are even more. backward than the no.velists because they .are unaware of the decompos.ition and exhausti.on of .individual e.xpression in our time., igno.rant of the end. of. the arts of passivity. The.y are praised f.or their sincer.ity since th.ey dra.matize, with more per.son.al .depth, the conv.entions of which thei.r life consists. Ther.e is talk of the liberation. of the cinema. Bu.t what. does it mat.ter to us if one more. art i.s liberated thr.oug.h which Tom, Dick or Harry .can joyously ex.press their sla.vish sentime.nts Th.e only interesting ve.ntu.re .is the liberati.on of everyday life, .not only in the persp.ectives of history but for .us and right away.. This .entails the .withering away of ali.enated. forms of commu.nic.ation. The cinema, too, has. to be destroye.d.　　Voice 2 In .the final an.alysis., stars are created b.y t.he .need we have fo.r them, and not by th.eir talent or lack of. talent or even by the film. industry or adver.tising.. Miserable .need, dismal, anonymo.us lif.e that would li.ke .to expand itself to the dim.ensions of cine.ma life. The im.aginary life. on th.e screen is the produ.ct .of .this real need.. The star is the proj.ection of this need.　.　The images of the advertis.ements during the .interm.issions are .more suited than any .others. for evoking an. in.termission of life.　　To rea.lly describe th.is era it would. no doubt be. neces.sary to show many oth.er .thi.ngs. But what w.ould be the point　　Be.tter to grasp the tot.ality of what has been done. and what remains .to be .done than to. add more ruins to th.e old .world of the sp.ect.acle and of memories.　　1. T.his film, which. evokes the let.trist experi.ences .at the origin of the .sit.uat.ionist movement., opens with shots of. the Paris district f.requented by the lettrists .in the early 1950s..