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《关于在短时间内的某几个人的经过》电影剧情介绍 · 影片档案资料库
经典影片推介：由金贝影视影视编辑部精心收集并索引的电影《关于在短时间内的某几个人的经过》（别名/英文名：guanyuzaiduanshijianneidemoujigerendejingguo）正式入驻本站。本片是一部极具看点的 法国 风格电影艺术作品，其官方标准的全球首映或发行时间为 1959。
【主创团队与视听规格】：
本片背后的总导演为 居伊·德波，其独特的镜头调度和氛围烘托为整部故事注入了灵魂。在演员阵容方面，《关于在短时间内的某几个人的经过》集结了包括 等一众具备强劲演技实力的主创人员。影片在视听规格上，官方采用的标准对白语言为 法语，原汁原味的声线配合极大地增强了观众的观影沉浸感。
《关于在短时间内的某几个人的经过》电影剧情简介 / 故事梗概：
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.
【观影与延伸指引】：
作为一部优质的剧情片电影，《关于在短时间内的某几个人的经过》在剧本结构和角色命运的发展上都留下了不少值得探讨的悬念。如果您正在寻找关于该片的完整演职员表、上映时段信息、最新的大众影迷口碑反馈，亦或是希望获取《关于在短时间内的某几个人的经过》的高清免费在线观看、正片完整版播放入口，欢迎直接点击页面上方的播放或选集按钮，一键切入专属于您的绿色无卡顿看片通道。
电影《关于在短时间内的某几个人的经过》完整主创阵容及导演名单
角色档案：在 1959 年上映的《关于在短时间内的某几个人的经过》中，各路实力派演员用细腻的演技赋予了每一个角色鲜活的生命力。
电影导演： 居伊·德波
领衔主演：
《关于在短时间内的某几个人的经过》深度百科资料与影迷常问焦点问题
Q：电影《关于在短时间内的某几个人的经过》具体是什么时候上映的？属于哪个国家或地区的影视作品？
A：电影《关于在短时间内的某几个人的经过》属于标准的 法国 产地作品，官方渠道记录其首次上映发行的具体时间跨度为 1959。作为一部在题材上非常扎实的 剧情片 影片，它的上映为该类型的忠实影迷提供了非常不错的观影选择。
Q：执导《关于在短时间内的某几个人的经过》的导演是谁？主要的演职人员还有哪些？
A：本片《关于在短时间内的某几个人的经过》背后的总舵手是业内实力派导演 居伊·德波，其深厚的导演功底和独特的镜头语言为整部影片奠定了优秀的基调。在演员层面，该片更是邀请到了包括 等人在内的众多演技派与实力大咖倾情加盟。演员们通过细腻入微的表演，将角色的内心世界展现得淋漓尽致，可以说是全片不可错过的重大核心看点之一。
Q：目前网络上哪里可以找到无广告、不卡顿的《关于在短时间内的某几个人的经过》免费高清在线观看入口？
A：为了满足广大影视爱好者的催更与观影需求，金贝影视 今日已将《关于在短时间内的某几个人的经过》的各种播放源进行了深度整合。当前本片在站内的最新收录状态为：【HD中字】。如果您正在苦苦寻找该片的完整版或者未删减观影资源，直接点击页面上方的橙色“立即播放”按钮或下方的选集，即可一步直达画质清晰、播放顺畅的专属免费播放厅，享受影院级的视听体验。
Q：《关于在短时间内的某几个人的经过》主要讲的是一个怎样的故事？核心剧情梗概是什么？
A：本片围绕着跌宕起伏的故事情节铺开。根据影视百科提供的核心大纲，剧情主要讲述了：“Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and inte...” 在长达近两个小时的电影篇幅里，导演通过多线叙事，完美将这个充满魅力的桥段呈现了出来，细节拉满。
Q：从专业影评人和大众口碑的角度来看，《关于在短时间内的某几个人的经过》究竟值不值得花时间去看？
【院线口碑反馈聚合】： 绝大多数看过《关于在短时间内的某几个人的经过》的资深影迷和影评人给出的共识是：这是一部节奏把控精妙、氛围烘托极其到位的作品。导演 居伊·德波 展现出了极高的审美，在影片的细节暗示与音效配合上玩到了极致，从而全方位调动了观众的沉浸感。主演 贡献了教科书级的演技，在处理复杂情感冲突时收放自如，强烈建议寻找一个大屏幕的环境来完整欣赏这部 法国 的诚意之作。
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昨晚专门腾出时间全神贯注看完，整部作品的影调和细节布景都很有大银幕高级感，群像戏雕琢得十分细腻，没有一味地塑造完美的脸谱化角色。剧情线铺垫得极稳，随着悬念一层层剥开，这才是真正不把观众当傻子的叙事速度，看得很解渴，给五星推荐！
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