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长篇影评
1 ) 电影社会主义
戈达尔在《电影社会主义》最后一幕黑底白字地打上了“不予置评”四个大字，但看完这样一部装逼十三钗之一的电影大师的超级无聊闷片之后再不让人说两句，一定会菊花发痒憋到内伤。 由于国足的比赛太烂我才找出这部片子来看，事实证明我错了，我从一开始就不该……。本片完全可以和安迪沃霍的神作《帝国大厦》相比，后者那部长达8小时的电影只有一个画面----帝国大厦，因此被誉为史上首部只要看过海报就算看过电影的里程碑之作（没错，电影理论家们可以很有理由地指出，这一特点与黑洞类似：黑洞内部的三维的信息能够完整编码到其二维的视界上，也就是说只要观察黑洞表面就能了解黑洞内部的一切活动）。当然戈达尔此片还未达神级，不过你看完戈达尔亲自剪的一段1分30秒的预告片之后，你就相当于看完本片了，当然，也相当于什么都没看。 本来我是没有理由抱怨的，毕竟是我自己为了看到阿兰巴丢而选择一帧一帧地看了你139680个真相，可你倒（揪着领口）TMD告诉我巴丢在哪儿啊混蛋？！开始我以为这是剧情片，后来我发现是风景片，然后感觉是纪录片，最后我终于悟出：原来这是一部幻灯片。是的，一代大师戈达尔通过他神乎其技的蒙太奇手法让我们观赏到了一个长达97分钟的PPT。 戈达尔，大师中的大师、新浪潮的代表、巴赞的爱徒，他，怎么就拍了个PPT？我撕心、我裂肺、我觉得我快要窒息了。 我呕心、我沥血、我总算为戈达尔（和自己）找到以下辩护词： 福柯在1969年那篇著名的演讲《什么是作者？》中指出：“写作的观念关注的既不是写作的行为，也不是表示作者意义的迹象，比如文本中的症候或标志。恰恰相反，它代表了一种相当深刻的努力，试图深入探讨文本的条件，既包括文本在空间里散布的条件，也包括文本在时间中展布的条件。 ”戈达尔在本片中就做出了这样的一个尝试。这一尝试不是简单理解中的对资本主义-好莱坞-工业化模式的挑战（例如，凭什么电影要讲故事？凭什么要“文以载道”？凭什么要和观众沟通？虽然在结尾也嘲讽了一下FBI和知识产权），而是正如福柯所说，在空间和时间的意义上做出挑战。这一努力正如居依.德波的“景观社会”概念，是在空间上对马克思的一种扩展。戈达尔无逻辑关系、快速拼贴的画面，不是传统蒙太奇的时间性叙事，而是“取消时间”的一种尝试，是在空间上的“绵延”。于是我们不能忽视德里达的影响：戈达尔试图在幻灯片似的每一格影像之间的差异和缝隙中，往往是一段无情境的对白夹杂着一段战争纪录片，去寻找艺术降临的可能性。 想到这里，我终于满意的笑了。
2 ) 戈达尔的怀疑主义和电影理性主义
戈达尔的片子无论你是否喜欢，或是催眠，都无可争议地成为了世界电影地图中的一块领地。踏入这片领地的冒险者，或许怀着敬畏，或许怀着猎奇，或许只是误入。这片孤独的岛屿，没有与其他陆地相类似的景观，屡屡打破任何习以为常的经验，是怀疑主义者和偶然性的乐园。它不满足于任何现世的解决方案，包括暴力革命，而这里的暴力革命也只是作为一种推翻现实的怀疑态度存在——而非终极解决方案。
戈达尔的思维就像是这摄像机，徜徉在豪华游艇的甲板上——一个悲悯的思考者，同时也是个愤世嫉俗的家伙——他观察着人类，同时摄像机也不断地挑战着人类——背负着欧洲沉痛的历史——不是我们中国人在宣传中所熟知的屈辱史，而是20世纪以来欧洲人的精神危机。暴力革命这是延缓此精神危机的鸦片，戈达尔明白这一点，但他还是采取了某种亲巴勒斯坦的立场——不是出于对犹太人的恨，而是他面对欧洲精神危机所做出的条件反射式的生理性抽搐。他观察着这游轮上的客人，平静，宿醉，奢侈，自由，优雅，年迈——却在其下暗藏着欧洲无希望的未来——颇具争议的论点“因自由而腐朽”——一种悲凉油然而生，却绝不向上帝祷告——弃船，弃船，弃船，他发出着绝望的呼喊或启示。
戈达尔的摄影机的确扮演着思维的作用，这一点与爱森斯坦很像。后人称其为理性蒙太奇。但却被诟病颇多。认为其违背了电影的本质，把电影当作是理性的工具——如此这般，康德的《纯粹理性批判》也可以被拍成电影。随后，电影的发展走向了感官优先的方向——理性的失败。这造成了一系列的问题，观众乃至导演丧失思考能力，至少是被镜头所拍摄的事物限制，而不像思维那样天马行空，电影的穿透力降低，却换来了视觉得出的一些廉价结论。这不仅仅是好莱坞的问题，而是全部电影的问题。因此，画外音在《电影社会主义》中占据了重要地位，直接电影的同期声被抛弃了。虽然画外音曾经在纪录片历史上臭名昭著，成为扭曲纪录片客观性的主要凶嫌。但戈达尔的画外音完全就不是扮演这样的作用，他的声音忧郁而犹疑，像个早熟的孩子。我怀疑他是在读书的过程中摘抄下一些他为之所动的句子，再构思与句子相关的画面的。句子和句子构成了剧本，画面与画面构成了另一个剧本，两者叠在一起，像是套色。而格里尔逊式的纪录片只有一个文本剧本，影像是以配图的形式填入的，沦为文本剧本的图解说明——高度扭曲了影像本身的真实性。但无论如何戈达尔绝不是通过镜头来思考问题的。
3 ) 《电影社会主义》字幕
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[ translated & synchronized by 639 ]
[ 翻译 同步：639 ]
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（投资方）
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（演员）
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（导演 摄影 制片）
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（技术支持）
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（文字资料）
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（影像资料）
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（声音资料）
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<b>《电影社会主义》</b>
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- Money is a common good.
- Like water.
- 金钱是公共之物。
- 就像水。
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Exactly.
正是。
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"Algiers the White."
“白色的<u>阿尔及尔</u>”。
【<u>阿尔及利亚</u>首都、港市，
因耀眼的白色建筑得名】
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00:01:20,694 --> 00:01:28,863
As Mireille Balin gives up Pépé le Moko.
就像<u>米海伊</u>·<u>巴兰</u>离开了<u>贝贝</u>·<u>勒</u>·<u>默果</u>。
【影片《<u>贝贝</u>·<u>勒</u>·<u>默果</u>》（1937）是
“诗意现实主义”的代表作和“黑色电影”的鼻祖，
<u>贝贝</u>是逃到<u>阿尔及尔</u>的歹徒，
<u>米海伊</u>·<u>巴兰</u>饰演的是<u>巴黎</u>来的女游客，
爱上了<u>贝贝</u>，但最后因受骗而离开了他】
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00:01:35,808 --> 00:01:42,950
And as we have, once again, given up Africa.
就像我们，再一次离开了<u>非洲</u>。
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00:01:53,393 --> 00:01:57,530
Constance, there is nothing else
you could have done.
<u>康斯坦丝</u>，你别无选择，
只能这么做。
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00:01:58,198 --> 00:01:59,978
It's well known that when one goes South,
众所周知，当你往南行时，
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the latitude becomes negative,
纬度变成了负数，
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00:02:03,070 --> 00:02:06,473
and all that remains is the North,
precious soul, precious friend.
把一切都留在了北方，
珍贵的灵魂、珍贵的朋友。
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00:02:08,710 --> 00:02:10,977
You still have the watch.
你还拿着那手表。
20
00:02:14,310 --> 00:02:15,674
Come on.
行了，
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Done with the crimes and the blood.
Done with Kigali.
忘了那些罪恶与血腥，
忘了<u>基加利</u>【<u>卢旺达</u>首都】。
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00:02:19,653 --> 00:02:21,255
Long live the holidays.
假日万岁。
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00:02:47,883 --> 00:02:51,585
Uncle Mathias, why did you say
this watch is worth gold?
<u>马蒂亚</u>叔叔，你为什么说
这表值很多金子啊？
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00:02:52,053 --> 00:02:54,222
It doesn't even show the time.
它连时间都不显示。
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00:02:54,705 --> 00:02:56,014
I do not know.
我不知道。
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00:02:56,791 --> 00:02:58,435
THINGS
一些事情
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00:03:11,035 --> 00:03:14,235
（《费加罗报》）
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00:03:15,442 --> 00:03:18,979
Henri Déricourt...
wait a second, yes, I know.
<u>昂利</u>·<u>德里库尔</u>…
等一下，是的，我认识。
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00:03:23,018 --> 00:03:26,987
But Richard Christmann...
I don't know.
但是<u>里夏尔</u>·<u>克里斯曼</u>…
我不认识。
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00:03:27,189 --> 00:03:31,958
I know, the fire... but doesn't
matter... it's him, it's him.
我知道，那大火…但是
那没关系…是他，就是他。
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00:03:32,560 --> 00:03:37,565
Alright... war is war,
but a crime remains a crime.
我同意…战争是战争，
但罪行仍然是罪行。
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00:03:37,831 --> 00:03:45,304
Please keep looking for Alice.
Two "M", only one "N".
请继续寻找<u>阿丽丝</u>。
两个“M”，但只有一个“N”。
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00:04:33,422 --> 00:04:35,923
We're far from Byzance, you know.
我们远离了<u>拜占庭</u>，你知道。
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00:04:37,425 --> 00:04:41,194
What lies ahead is an
impossible history.
我们的前面只是一段
不可能的历史。
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00:04:41,262 --> 00:04:43,831
We're facing a kind of Zero.
我们面对的是某种虚无。
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00:04:45,733 --> 00:04:47,969
I have once encountered nothingness,
我曾经遭遇过虚无，
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00:04:48,035 --> 00:04:50,738
and it is much more immense
than one tends to believe.
它远比人们通常相信的
要巨大得多。
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00:04:51,040 --> 00:04:53,941
Jaffa, 1948.
<u>雅法</u>，1948年。
【现为<u>特拉维夫</u>的一部分】
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00:04:55,377 --> 00:05:00,549
You know that we are living
in a material world.
你知道我们生活在物质世界中。
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00:05:01,991 --> 00:05:05,997
LIKE THAT
就像那样
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00:05:26,775 --> 00:05:31,679
You're completely right,
I don't love any nation.
你完全正确，
我不喜欢任何民族。
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Not the French, not the North
Americans, not the Germans.
不喜欢<u>法国</u>人、不喜欢<u>北美</u>人、
不喜欢<u>德国</u>人。
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Not the Jewish nation,
not the Black nation.
不喜欢<u>犹太</u>民族、
不喜欢黑人民族。
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00:05:43,124 --> 00:05:44,323
With their slanted eyes.
他们有着吊眼。
【通常认为<u>亚洲</u>人长着吊眼】
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I only love my friends.
我只喜欢我的朋友们。
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00:05:45,893 --> 00:05:46,994
Dollars.
美元。
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00:05:47,562 --> 00:05:48,963
<i>Cinémascope.</i>
<i>宽银幕立体声。</i>
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00:05:51,799 --> 00:05:52,990
<i>16:9.</i>
<i>16:9。</i>
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00:05:53,437 --> 00:05:55,960
Hey, kid!
嘿，小孩！小孩！
50
00:06:20,661 --> 00:06:21,833
Where did you steal this watch?
你从哪儿偷的这块表？
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00:06:21,862 --> 00:06:23,465
(English) It's not your business.
（英语）不关你的事。
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Give it to me, or I will denounce you.
把它给我，不然我去告发你。
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00:06:25,234 --> 00:06:26,927
(German) No, it is mine.
（德语）不，它是我的。
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00:06:26,969 --> 00:06:30,537
Oh, you speak German?
You will be useful, my boy.
哦，你会说<u>德语</u>？
你会对我有用的，我的孩子。
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Yes, but... how much?
（英语）是的，我会。但是…多少钱？
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And you have studied, too.
What a great find, this Ludovic.
你也研究过了。
真是个大发现，<u>卢多维克</u>。
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Who told you my first name?
谁告诉你我的名字的？
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00:06:39,000 --> 00:06:40,581
I know everything.
我知道一切。
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00:06:53,261 --> 00:06:56,896
Mr. Obersturmbannführer Goldberg.
（德语）党卫军中校<u>戈德伯格</u>先生。
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00:06:57,566 --> 00:07:01,503
what did you do in Avenue Foch, 1943?
1943年你在<u>福煦</u>大道【<u>巴黎</u>】
上干了什么？
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00:07:01,570 --> 00:07:04,105
Leave me alone, horrible kid.
（德语）别来烦我，讨厌的孩子。
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00:07:20,522 --> 00:07:29,563
All movement on a plain surface that
is not driven by physical necessity,
在一个平坦表面上不由自然法则的
必要性所驱动的任何运动，
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00:07:29,765 --> 00:07:33,636
is a spatial affirmation of oneself,
都是对运动本身的一种空间确认，
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be it building an Empire, or tourism.
例如建立一个帝国，或旅游。
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00:07:43,278 --> 00:07:46,446
Everyone can do something
so that there is no God.
人人都可以做一些事情，
说明上帝并不存在。
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00:07:46,582 --> 00:07:52,186
But what has changed today
is that the assholes are sincere.
但是如今不同了的是
混蛋们是诚实的。
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00:07:57,507 --> 00:08:00,937
THINGS
LIKE THAT
一些那样的事情
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00:08:01,507 --> 00:08:07,937
（<u>纳吉布</u>·<u>马赫福兹</u>：《背教者<u>阿肯纳顿</u>》）
【古<u>埃及</u>十八王朝的法老（公元前14世纪）】
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00:08:11,539 --> 00:08:15,809
A-L-I-S-S-A
A-L-I-S-S-A （<u>阿莉萨</u>）
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00:08:22,007 --> 00:08:23,719
Stop being suspicious of everything.
别再怀疑一切了。
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00:08:26,956 --> 00:08:28,822
I'm thinking about what Ludovic has told us.
我在想<u>卢多维克</u>告诉我们的事。
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00:08:29,190 --> 00:08:31,392
Alright... what, for example?
是吗…比如说什么事？
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00:08:31,594 --> 00:08:33,528
The old man with the young girl.
那个老头和那个年轻女孩。
74
00:08:33,662 --> 00:08:35,963
I have seen them speak to the Captain.
我见到他们和船长说话了。
75
00:08:36,066 --> 00:08:37,832
Alright... and so?
是吗…那又怎样？
76
00:08:37,933 --> 00:08:42,269
So, the name of the largest
shareholder of the company,
所以，该公司最大股东的名字——
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00:08:42,638 --> 00:08:44,639
Goldberg.
<u>戈德伯格</u>。
78
00:08:45,507 --> 00:08:47,309
Mountain of Gold.
金山。【<u>戈德伯格</u>的意思】
79
00:08:47,346 --> 00:08:50,677
Yes, it's the name of the old man.
是的，这就是那老头的名字。
80
00:08:51,312 --> 00:08:52,914
Alright...
好吧……
81
00:08:59,003 --> 00:09:07,295
Abandon ship, abandon ship,
abandon ship!
（意大利语、英语）注意！
弃船，弃船，弃船！
82
00:09:57,212 --> 00:10:00,581
Quiet, Alissa, quiet!
安静，<u>阿莉萨</u>，安静！
83
00:10:01,216 --> 00:10:05,319
Meow is how the ancient
Egyptians called their cats.
古<u>埃及</u>人对猫的称呼就是“喵”。
84
00:10:05,854 --> 00:10:10,958
You trouble me with each of your words.
（德语）你说的每一个词都让我心烦。
85
00:10:24,774 --> 00:10:26,742
Be silent, Alissa.
（德语）安静，<u>阿莉萨</u>。
86
00:10:45,060 --> 00:10:50,230
Waves of Allied bombers destroy
the Third Reich under their bombs.
同盟国一波又一波轰炸机
投下的炸弹摧毁着第三帝国。
87
00:10:51,033 --> 00:10:53,838
The Luftwaffe tries to
regain their advantage...
<u>德国</u>空军试图通过一种新的…
88
00:10:53,868 --> 00:10:57,070
by means of a terrifying new strategy.
…可怕的策略重新获得优势。
89
00:10:57,473 --> 00:11:02,609
The German pilots will crash their
own planes into the enemy bombers.
<u>德国</u>飞行员将把他们
自己的飞机撞向敌人的轰炸机。
90
00:11:05,281 --> 00:11:09,516
Ach, Germany.
（德语）啊，<u>德国</u>。
91
00:11:14,756 --> 00:11:18,760
Did you know that kamikaze, in Japanese...
你知不知道在日语里“卡米卡泽”…
92
00:11:19,029 --> 00:11:22,764
- means divinity of the wind?
- Of course.
- …的意思是“神风”？
- 当然知道。
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Major Kamenskaia. I am a friend of
your godmother, Alexandra Irinivna.
<u>卡门斯卡娅</u>少校，我是你教母
<u>亚历山德拉</u>·<u>伊利尼夫娜</u>的朋友。
94
00:11:55,497 --> 00:12:01,136
Yes, exactly, the old
chief of the Moscow Police.
是的，正是，
<u>莫斯科</u>警察局的老首长。
95
00:12:01,203 --> 00:12:04,772
I have read a number of books...
我读过好几本书……
96
00:12:07,343 --> 00:12:10,780
I have read a number of books
on what she has written.
我读过好几本她以前写的书。
97
00:12:10,880 --> 00:12:14,783
So... I think that we should talk.
所以…我想我们应该谈谈。
98
00:13:01,630 --> 00:13:04,266
And you think you will stay in Haifa?
你觉得你会留在<u>海法</u>吗？
【<u>以色列</u>港市】
99
00:13:08,004 --> 00:13:09,738
I will see.
我要看情况。
100
00:13:11,474 --> 00:13:17,880
They say there's a right to return.
For me it would be... to get away.
他们说我们有权利回去。
在我看来，这像是…叛逃。
101
00:13:19,148 --> 00:13:22,351
In Stanford, what are you studying, exactly?
在<u>斯坦福大学</u>，你究竟研究什么？
102
00:13:22,685 --> 00:13:28,357
I'm directing a seminar. Monetary
creation and literary creation.
我主持举办一个研讨会，
有关金融创造和文学创造。
103
00:13:36,565 --> 00:13:43,338
You see, still today, they're
asking themselves, in Moscow...
你看，即使在今天，在<u>莫斯科</u>
也有人一直在询问有关…
104
00:13:46,502 --> 00:13:48,103
35
35年…
105
00:13:51,241 --> 00:13:52,942
36
36年的…
106
00:13:55,551 --> 00:13:57,920
The Spanish Civil War.
<u>西班牙</u>内战。
107
00:14:02,024 --> 00:14:05,127
The Republicans tell the Comintern...
共和派政府人员让“第三共产国际”…
108
00:14:05,195 --> 00:14:08,931
to evacuate the gold of the Bank of Spain.
…将“<u>西班牙</u>银行”的黄金运出本国。
109
00:14:11,600 --> 00:14:16,238
The France-Navigation company, exactly.
通过“<u>法国</u>航运公司”，没错。
110
00:14:16,673 --> 00:14:21,727
When they reach Odessa, one third,
one fourth has disappeared.
当他们到达<u>敖德萨</u>【<u>苏联</u>港市】时，
三分之一…四分之一的黄金不见了。
111
00:14:21,778 --> 00:14:24,480
And another third in Moscow.
在<u>莫斯科</u>又有三分之一不见了。
112
00:14:26,616 --> 00:14:30,106
Regarding the first third,
I have my idea.
关于前面三分之一，
我知道些情况。
113
00:14:31,655 --> 00:14:33,539
For the last third...
关于后面三分之一…
114
00:14:33,589 --> 00:14:39,627
you would have to dig deep
into the communist archives.
你得深入挖掘共产党的档案了。
115
00:14:53,731 --> 00:14:57,286
Willi Münzenberg.
<u>威利</u>·<u>穆恩琛伯格</u>。
【1889-1940，<u>德国</u>共运活动家】
116
00:15:35,986 --> 00:15:40,990
Art... and the knife.
War. So it's...
（英语）艺术…和刀。
战争。所以这是……
117
00:16:40,716 --> 00:16:42,718
You want to hear my opinion?
你想听听我的见解吗？
118
00:16:43,486 --> 00:16:47,289
AIDS is just an instrument
to kill the black continent.
艾滋病就是屠杀
黑<u>非洲</u>的一种工具。
119
00:16:55,565 --> 00:16:57,907
Why is there light?
为什么要有光？
120
00:16:58,436 --> 00:17:00,751
Because there is darkness.
因为有黑暗。
121
00:17:10,421 --> 00:17:12,983
LIKE THAT
就像那样
122
00:17:15,181 --> 00:17:16,219
It's normal.
正常。
123
00:17:16,319 --> 00:17:17,420
Money was invented...
金钱被发明后…
124
00:17:17,487 --> 00:17:20,899
so that the people wouldn't have
to look each other in the eye.
人们就不用再互相眼睛看着眼睛了。
125
00:17:28,631 --> 00:17:32,168
So, we're back to zero, my friend.
所以，我们回到了零，我的朋友。
126
00:17:32,236 --> 00:17:34,937
Fortunately, the Arabs have invented it.
幸运的是，<u>阿拉伯</u>人发明了零。
127
00:17:35,539 --> 00:17:39,633
We don't even pay them for their copyright.
我们甚至不必付他们版权费。
128
00:17:41,710 --> 00:17:44,913
Negative numbers were invented in India.
正常。负数是在<u>印度</u>发明的。
129
00:17:46,016 --> 00:17:51,987
They made some in Arabia,
before setting out for Italy.
在传到<u>意大利</u>之前，
在<u>阿拉伯半岛</u>已有了应用。
130
00:17:52,010 --> 00:17:55,991
Fibonacci has used them first.
<u>斐波纳契</u>首先用它们的。
131
00:17:58,428 --> 00:18:00,859
When the British left Israel,
当<u>英国</u>人离开<u>以色列</u>时，
132
00:18:00,897 --> 00:18:04,866
what exactly did you do with the
gold of the Bank of Palestine?
你们究竟把“<u>巴勒斯坦</u>银行”
的黄金怎么着了？
133
00:18:06,562 --> 00:18:09,241
See this tooth, my friend, see.
瞧这颗牙齿，我的朋友，瞧。
134
00:19:18,342 --> 00:19:22,946
THINGS
LIKE THAT
一些那样的事情
135
00:19:24,548 --> 00:19:30,485
One always says that one can only
compare what is comparable.
人们总是说，你只能比较
那些可以比较的事物。
136
00:19:31,089 --> 00:19:38,594
In fact, one can only compare what
is incomparable to the incomparable.
但事实上，你只能比较
哪些事物与哪些事物是不可比较的。
137
00:19:42,265 --> 00:19:44,934
It's over, all that.
一切都过去了，所有一切。
138
00:19:53,644 --> 00:19:55,245
Stalin.
<u>斯大林</u>。
139
00:19:56,213 --> 00:19:57,914
Hitler.
<u>希特勒</u>。
140
00:20:00,216 --> 00:20:01,718
No.
不。
141
00:20:03,454 --> 00:20:08,390
Your comedy is pointless.
Enough, stop.
你的幽默没有意义。
够了，别说了。
142
00:20:13,296 --> 00:20:20,402
Me too, I have learned to
collaborate with the French.
我也一样，现在我学会了
与<u>法国</u>人合作。
143
00:20:23,040 --> 00:20:30,145
See, I will teach you something.
It's Napoleon.
你看，我可以教你一些东西，
关于<u>拿破仑</u>。
144
00:20:31,014 --> 00:20:33,617
During the Fire of Moscow,
he signed the decree...
在“<u>莫斯科</u>大火”期间
【1812年9月14日-18日】，
他签署了这道命令——
145
00:20:33,717 --> 00:20:36,986
for the creation of the Comédie-Francaise.
创建“<u>法国</u>喜剧剧院”。
146
00:20:37,388 --> 00:20:39,889
I do not understand.
（德语）我不明白。
147
00:20:42,159 --> 00:20:44,828
I do not understand.
（德语）我不明白。
148
00:20:44,962 --> 00:20:49,165
To understand, Mr. Goldberg,
that is difficult.
（德语）那就努力去理解，
<u>戈德伯格</u>先生，这是很困难。
149
00:20:51,970 --> 00:20:55,938
I don't care about the Spanish gold
that you have made disappear.
我不关心你弄不见的
那些<u>西班牙</u>黄金。
150
00:20:56,206 --> 00:20:58,842
I only have to find the rest.
我只是必须找到余下的。
151
00:21:00,337 --> 00:21:03,046
There's no need to fear Moscow anymore.
不用再害怕<u>莫斯科</u>了。
152
00:21:03,180 --> 00:21:05,619
My only true mission, Mr. Krewitzky...
我唯一真正的任务，<u>克列维茨基</u>先生……
153
00:21:05,648 --> 00:21:07,680
Ah, what fortune!
啊，好大的财富！
154
00:21:08,204 --> 00:21:09,937
More...
更大……
155
00:21:10,354 --> 00:21:14,902
My grandmother would say that
as a Yes and as a No.
我的祖母对此既会说“是的”，
也会说“不是”。
156
00:21:16,561 --> 00:21:20,631
I... don't want to die,
我…我不想死去，
157
00:21:21,365 --> 00:21:24,778
before I have seen Europe happy again,
在我看到<u>欧洲</u>再一次幸福起来之前，
158
00:21:25,302 --> 00:21:31,207
before I have seen the word "Russia"
and the word "Happiness"...
在我看到“<u>俄国</u>”这个词
和“幸福”这个词…
159
00:21:33,911 --> 00:21:38,849
cling to each other again,
like two plaques of a belt.
…再一次互相依偎之前，
就像一条带子上的两块牌子。
160
00:21:39,183 --> 00:21:40,884
(Russian) God be with you.
（俄语）再见。
161
00:21:43,120 --> 00:21:44,622
Heil Hitler!
<u>希特勒</u>万岁！
162
00:22:26,798 --> 00:22:28,965
Naples, alright.
<u>那不勒斯</u>，好吧。
163
00:22:29,166 --> 00:22:32,829
But Alexandria, Haifa, Odessa...
To get from Algiers to Barcelona?
但是<u>亚历山德里亚</u>【<u>埃及</u>港市】、
<u>海法</u>、<u>敖德萨</u>…
164
00:22:32,866 --> 00:22:35,839
To get from Algiers to Barcelona?
离开<u>阿尔及尔</u>去<u>巴塞罗那</u>
【<u>西班牙</u>港市】？
165
00:23:39,003 --> 00:23:41,745
One shall never...
（德语）你绝不能……
166
00:23:41,777 --> 00:23:44,205
Silence is gold.
沉默是金。
167
00:24:20,544 --> 00:24:24,482
Istanbul, that's the Orient or the Occident?
<u>伊斯坦布尔</u>，那是算东方还是算西方？
168
00:24:25,816 --> 00:24:27,217
Let's go.
一边去！
169
00:24:50,357 --> 00:24:52,656
EGYPT
<u>埃及</u>
170
00:25:15,199 --> 00:25:21,371
Once, in 1942, I have encountered nothingness,
在1942年，我就曾经遭遇过虚无，
171
00:25:21,607 --> 00:25:25,642
and it is much more immense
than one tends to believe.
它远比人们通常相信的
要巨大得多。
172
00:25:25,723 --> 00:25:30,315
Casablanca, Algiers, La Guerre.
<u>卡萨布兰卡</u>【<u>摩洛哥</u>港市】、
<u>阿尔及尔</u>，二战。
173
00:25:56,174 --> 00:26:00,511
To be or not to be...
（英语）生存还是毁灭……
174
00:26:02,479 --> 00:26:03,980
A Jew.
一个<u>犹太</u>人。
175
00:26:06,551 --> 00:26:12,322
Yes, I've been told...
my parents... but so what?
是的，有人跟我说过……
我父母…但那又怎样？
176
00:26:13,725 --> 00:26:16,275
To tell is never enough.
光述说永远不够。
177
00:26:24,007 --> 00:26:27,409
THINGS
一些事情
178
00:26:27,573 --> 00:26:30,607
Geometry as origin.
几何作为起源。
179
00:26:31,006 --> 00:26:33,978
The origin is always what one returns to.
起源总是人们最终回归的事物。
180
00:26:34,045 --> 00:26:39,383
There has been, for decades,
especially in Mathematics...
近几十年来，
特别在数学领域，
181
00:26:39,417 --> 00:26:42,386
a return of Geometry.
就存在着向几何的回归。
182
00:26:42,453 --> 00:26:45,790
The idea is not that Geometry
would return to its origin,
这一观念并非是说
几何要回归到它最初的形式，
183
00:26:45,824 --> 00:26:50,229
but rather that we return
to Geometry, as origin,
而是说我们要将数学
回归到几何，作为起源，
184
00:26:50,261 --> 00:26:55,532
and participate in the return of Geometry.
并参与到回归几何这一过程中去。
185
00:27:01,439 --> 00:27:02,907
The poor things.
可怜的东西。
186
00:27:03,008 --> 00:27:06,184
They have for themselves only
the name that we impose on them.
它们只有名字，而且这些名字
也是我们强加给它们的。
187
00:27:06,277 --> 00:27:09,379
There's nothing more convenient than a text.
没什么东西比文字更方便的了。
188
00:27:10,004 --> 00:27:12,997
We have only books to put into books.
我们只需把书本放入书本中。
189
00:27:13,751 --> 00:27:19,322
But what if we have to
put reality into a book?
但是，如果我们必须把现实
放入书本中，那会怎样？
190
00:27:20,124 --> 00:27:25,730
And what if we have to
put reality into reality?
如果我们必须把现实
放入现实中，那又会怎样？
191
00:27:31,970 --> 00:27:35,336
I TURNED AWAY
SO AS NOT
TO SEE
（拉丁语）我转过身去不想看见
192
00:27:42,147 --> 00:27:49,252
Geometry that is still valid,
and at the same time still improves.
几何仍然非常有用，
而且它同时仍在进步。
193
00:27:50,900 --> 00:27:57,961
Residing in all these
new forms... Geometry.
采用了这些全新的形式——这种几何。
194
00:27:58,830 --> 00:28:01,899
Do-Re-Mi-Fa-So-La.
哆-来-咪-发-唆-啦。
195
00:28:02,334 --> 00:28:08,538
Husserl underlines the "la"
... la géométrie.
<u>胡塞尔</u>强调这个“la”——这种几何。
【“la”是法语里的阴性定冠词】
196
00:28:09,003 --> 00:28:16,880
In all new forms... die Geometrie.
（德语）以全新的形式——这种几何。
197
00:28:22,789 --> 00:28:26,491
Unacceptable. This I can not accept.
（德语）这个我不能接受，我不能接受。
198
00:28:26,524 --> 00:28:30,694
I will address it tonight.
I have to work now.
（法语）今晚我会说到这个问题。
现在我要工作了。
199
00:28:32,864 --> 00:28:37,734
Miss Alissa... Miss Alissa!
<u>阿莉萨</u>小姐…<u>阿莉萨</u>小姐！
200
00:28:47,530 --> 00:28:51,464
"The Narrow Gate" (Gide)
（《狭窄的门》【<u>纪德</u>发表于
1909年的小说，关于成长的困扰】）
201
00:28:52,000 --> 00:28:56,922
<i>They continued to speak,
for a while, with a low voice,</i>
<i>他们继续谈了一会儿话，
声音很低，</i>
202
00:28:57,003 --> 00:28:59,924
<i>so that the young girl
wouldn't hear them.</i>
<i>这样那个年轻女孩
就听不见他们了。</i>
203
00:29:00,425 --> 00:29:03,928
<i>But this precaution was unnecessary,</i>
<i>但其实没必要这么小心，</i>
204
00:29:04,062 --> 00:29:07,966
<i>they spoke to each other with their thoughts.</i>
<i>因为他们是通过思想进行交谈的。</i>
205
00:29:15,607 --> 00:29:19,541
Insofar as all of these parts,
or a sum of these parts...
只要所有这些部分，
或这些部分的总和…
206
00:29:19,579 --> 00:29:23,914
at a given moment denies,
insofar as each part contains the sum,
…在某一刻否定了，
只要每一部分包含有总和，
207
00:29:23,949 --> 00:29:28,350
the part that we consider,
insofar as this part denies,
那么我们考虑的这一部分——
只要这一部分否定了，
208
00:29:28,387 --> 00:29:31,990
insofar as the sum of these parts,
re-becoming collectively,
只要这些部分的总和
重又变成了总体——
209
00:29:32,005 --> 00:29:35,112
becomes the collectivity of
these parts joined together.
就变成了这些部分
和在一起的总体。
210
00:29:38,028 --> 00:29:43,754
Dialectical thought is quite simply
a way of using analytical thought,
辩证思维是应用解析思维的
一种相当简单的方式，
211
00:29:43,803 --> 00:29:47,853
insofar as it is part of a whole,
insofar as it denies this whole,
只要它是总体的一部分，
只要它否定的是这一总体，
212
00:29:47,907 --> 00:29:51,980
insofar as the whole includes it,
conditions it and denies it,
只要总体包含有它，
制约它并否定它，
213
00:29:52,011 --> 00:29:56,994
insofar as, by consequence, it is both
positive and negative with regards to the whole,
只要对总体而言，它的结论
既是肯定的又是否定的，
214
00:29:57,013 --> 00:30:03,997
insofar as its movement must be destructive
and preserving with regards to the whole.
只要对总体而言，它的运动必须
既是破坏性的又是保护性的。
215
00:30:08,773 --> 00:30:11,720
The photograph of the populated land.
人口众多的土地上的照片。
216
00:30:19,571 --> 00:30:25,910
Listen, after the reception of Daguerre
by Arago at the Academy of the Sciences,
听着，当<u>阿拉戈</u>在<u>法国</u>科学院
接受了<u>达盖尔</u>的发明之后，
【<u>弗朗索瓦</u>·<u>阿拉戈</u>（1786-1853），
<u>法国</u>数学物理天文学家和政治家；
<u>路易</u>·<u>达盖尔</u>（1787-1851），<u>法国</u>画家
和化学家，银版摄影法（1839）的发明者】
217
00:30:25,942 --> 00:30:28,947
a mostly British armada,
一支主要由<u>英国</u>人组成的舰队，
218
00:30:29,313 --> 00:30:35,857
even though long before the Declaration of
Lord Balfour, rushed towards Palestine.
甚至远在<u>贝尔福</u>勋爵的宣言之前，
就贸然开赴了<u>巴勒斯坦</u>。
【<u>英国</u>外交大臣<u>贝尔福</u>在1917年11月2日
写给<u>犹太</u>复国主义者的信，
支持他们在<u>巴勒斯坦</u>建立家园】
219
00:30:35,888 --> 00:30:39,324
This is one of the first
photographs of the Bay of Haifa.
这是当时拍摄的第一批
<u>海法</u>湾的照片之一。
220
00:31:35,008 --> 00:31:37,364
PALESTINE
<u>巴勒斯坦</u>
221
00:31:45,388 --> 00:31:47,264
拒绝访问
222
00:31:53,778 --> 00:31:55,064
ODESSA
<u>敖德萨</u>
223
00:32:04,128 --> 00:32:08,564
HELL AS
地狱如（<u>希腊</u>）
224
00:34:11,470 --> 00:34:18,844
So... Otto Goldberg, Leopold Krewitzky,
and even Moishe Schmücke,
那么…<u>奥托</u>·<u>戈德伯格</u>、<u>利奥波德</u>·<u>克列维茨基</u>、
甚至是<u>莫伊什</u>·<u>施缪克</u>，
225
00:34:18,878 --> 00:34:20,711
according to their passports.
根据相应的护照。
226
00:34:20,880 --> 00:34:25,751
But one pronounces Richard Christmann...
但有个叫<u>里夏尔</u>·<u>克里斯曼</u>的人…
227
00:34:25,819 --> 00:34:28,356
The French knew him well
since he was working...
在<u>法国</u>，人们对他很熟悉，
因为他为…
228
00:34:28,386 --> 00:34:31,758
for the German counter-espionage,
and for their own.
…<u>德国</u>人的反间谍机关工作，
为他们干活。
229
00:34:32,324 --> 00:34:35,528
He begins in the Foreign Legion in Spain,
他开始是在<u>西班牙</u>的外籍军团，
230
00:34:35,628 --> 00:34:39,098
then joins networks of the
Résistance in occupied Paris…
随后加入了被占领下的
<u>巴黎</u>的地下抵抗网，
231
00:34:39,164 --> 00:34:41,899
on behalf of the Abwehr.
替“<u>阿布维尔</u>”工作。
【意为“防御”，<u>纳粹德国</u>的反间谍机关】
232
00:34:42,000 --> 00:34:46,105
After the defeat of the Germans,
he still belongs to the rest...
<u>德国</u>人战败后，
他与残部隶属于…
233
00:34:46,205 --> 00:34:52,541
of the Organisation Gehlen...
the Algerian FLN,
…“<u>盖伦</u>组织”，
参加过“<u>阿尔及利亚</u>全国解放阵线”，
【“<u>盖伦</u>组织”是战后<u>美国</u>人参与组织的
<u>德国</u>情报部门，是“<u>德国</u>联邦情报局”的前身；
“<u>阿尔及利亚</u>全国解放阵线”是争取从
<u>法国</u>人统治独立出来的社会主义政党】
234
00:34:52,578 --> 00:34:57,883
and finally Tunis, representative
of Bayer and Rhone-Poulenc.
最后去了<u>突尼斯</u>，成了<u>拜耳</u>
和<u>罗纳</u>-<u>普郎克</u>公司的代理。
【分别为<u>德国</u>和<u>法国</u>的化工制药公司】
235
00:34:58,351 --> 00:35:02,854
Multiple assassination attempts.
Acquitted twice.
有多次暗杀企图，
两次被判无罪。
236
00:35:03,490 --> 00:35:06,656
Like Henri Déricourt.
就像<u>昂利</u>·<u>德里库尔</u>。
【手上的书是《<u>德国</u>间谍》，作者<u>马库斯</u>，
讲的就是<u>里夏尔</u>·<u>克里斯曼</u>】
237
00:35:06,794 --> 00:35:09,560
Like Henri Déricourt.
就像<u>昂利</u>·<u>德里库尔</u>。
【1909-1962，二战期间<u>法国</u>籍的<u>英国</u>间谍，
也可能是<u>德国</u>的双重间谍】
238
00:35:09,695 --> 00:35:12,930
No, that's another story.
不，那是另外一回事。
239
00:35:18,738 --> 00:35:21,906
War criminal, maybe not.
战争罪犯，也许不是。
240
00:35:22,352 --> 00:35:24,905
Maybe a torturer of prisoners.
也许折磨过俘虏。
241
00:35:25,110 --> 00:35:31,582
But you must know something,
Lieutenant Delmas: Alice Simone.
<u>德尔马斯</u>中尉，但是你一定知道
<u>阿丽丝</u>·<u>西莫内</u>。
242
00:35:35,421 --> 00:35:37,389
How do you know?
你怎么知道的？
243
00:35:37,490 --> 00:35:40,758
The book by Roger Faligot.
<u>罗杰</u>·<u>法利戈</u>的书。
【<u>法国</u>记者，擅长当代史和间谍战题材】
244
00:35:41,762 --> 00:35:44,295
The archives of the NKVD.
《（<u>苏联</u>）内务人民委员会档案》。
245
00:35:50,337 --> 00:35:55,807
That would explain why only two thirds
of the Spanish gold made it to Odessa,
那里面解释了为什么只有三分之二的
<u>西班牙</u>黄金运到了<u>敖德萨</u>，
246
00:35:55,842 --> 00:36:00,245
but not why also Moscow
would only receive one third.
但没有解释为什么
<u>莫斯科</u>只接收到了三分之一。
247
00:36:04,750 --> 00:36:10,320
The Group du musée de l'Homme.
Germaine Tillon...
“人类博物馆小组”，<u>热尔曼</u>·<u>蒂戎</u>……
【<u>法国</u>女人类学家（1907-2008），
二战时曾领导该<u>法国</u>抵抗组织】
248
00:36:10,623 --> 00:36:12,793
Alice...
<u>阿丽丝</u>……
249
00:36:17,397 --> 00:36:21,934
"Mind borrows from matter perceptions
from which it derives its nourishment,
“心灵从物质借来感知，
从感知中汲取养分，
250
00:36:22,071 --> 00:36:28,840
"Mind borrows from matter perceptions
from which it derives its nourishment,
“心灵…心灵从物质借来感知，
从感知中汲取养分，
251
00:36:29,079 --> 00:36:37,682
"Mind borrows from matter perceptions
from which it derives its nourishment,
“心灵…心灵从物质借来感知，
从感知中汲取养分，
252
00:36:39,419 --> 00:36:43,152
"Mind borrows from matter perceptions
from which it derives its nourishment,
“心灵从物质借来感知，
从感知中汲取养分，
253
00:36:43,189 --> 00:36:45,390
"and gives them back to it
in the form of movement,
“然后以运动的形式
将感知归还给物质，
254
00:36:45,421 --> 00:36:51,960
"on which it has impressed its liberty."
“并将自由铭刻在了这一过程中。”
【<u>昂利</u>·<u>柏格森</u>的《物质与记忆：
身心关系论》中的最后一句话】
255
00:38:38,991 --> 00:38:40,697
This poor Europe.
这可怜的<u>欧洲</u>。
256
00:38:41,505 --> 00:38:44,809
Not purified, is corrupted by suffering.
没有纯化，被苦难所败坏。
257
00:38:45,573 --> 00:38:49,659
Did not feel exalted, but humiliated
by the conquest of happiness.
感觉不到崇高，
只有被满足所主宰的羞辱感。
258
00:38:53,290 --> 00:38:57,360
Imagine... a desert.
想象…一个沙漠。
259
00:39:04,621 --> 00:39:14,294
NAPLES
<u>那不勒斯</u>
260
00:40:09,530 --> 00:40:13,366
Have you heard, they have
abolished the fiscal paradises?
你听说了吗，
他们废除了避税天堂？
261
00:40:13,767 --> 00:40:15,568
What are we going to do?
那我们怎么办？
262
00:40:15,802 --> 00:40:19,372
Well... we will rest in hell.
很好…我们就呆在地狱里。
263
00:40:26,046 --> 00:40:31,184
Italy has concerned us a bit too much
in the last two thousand years.
在过去的两千年里，
<u>意大利</u>有点过于让我们烦心了。
264
00:40:31,250 --> 00:40:34,317
For the French, painting is Italy,
对<u>法国</u>人来说，绘画是<u>意大利</u>的，
265
00:40:34,354 --> 00:40:37,556
all our journeys take place in Italy,
it's Italian museums.
我们所有的旅行都是去<u>意大利</u>，
去看<u>意大利</u>的博物馆。
266
00:40:37,624 --> 00:40:43,438
While German Renaissance painting...
可是<u>德国</u>的文艺复兴绘画…
267
00:40:43,473 --> 00:40:46,466
is for me extremely impressing, because...
…在我看来也极其出色，因为……
268
00:40:46,666 --> 00:40:48,868
Thank you for your advice.
谢谢你的意见。
269
00:41:14,995 --> 00:41:19,366
So... you're going to do something.
这么说…你打算做些事情。
270
00:41:20,067 --> 00:41:22,036
You know, all these failed resolutions.
你知道，所有那些未通过的决议。
271
00:41:22,870 --> 00:41:25,606
The United Nations are
rather disunited since 48.
自从48年起，
联合国不如说从没联合过。
272
00:41:25,673 --> 00:41:27,541
Never mind the crime...
更别说那罪行……
273
00:41:52,265 --> 00:41:58,405
My friends, I have found the black box.
我的朋友们，我找到了那个黑匣子。
274
00:41:59,240 --> 00:42:02,795
This is why Hollywood was
called the Mecca of cinema.
这就是为什么<u>好莱坞</u>被称为
电影业的<u>麦加</u>城。
275
00:42:03,043 --> 00:42:04,878
The tomb of the prophet.
先知的陵墓。
276
00:42:05,847 --> 00:42:07,981
All eyes in the same direction.
所有的眼睛都向着同一个方向。
277
00:42:08,649 --> 00:42:10,349
The cinema hall.
电影厅。
278
00:42:11,052 --> 00:42:18,359
Yes, but... a strange thing is that
Hollywood was invented by the Jews.
是的，但是…奇怪的是
<u>好莱坞</u>是<u>犹太</u>人发明的。
279
00:42:18,492 --> 00:42:23,530
Adolf Zucker, William Fox,
David Selznick,
<u>阿道夫</u>·<u>祖克尔</u>、<u>威廉</u>·<u>福克斯</u>、
<u>大卫</u>·<u>塞尔兹尼克</u>、
280
00:42:23,597 --> 00:42:31,204
Samuel Goldwyn, Marcus Loew,
Karl Laemmle, et cetera.
<u>塞缪尔</u>·<u>戈德温</u>、<u>马库斯</u>·<u>洛</u>、
<u>卡尔</u>·<u>莱姆勒</u>、等等。
281
00:43:22,288 --> 00:43:25,492
<i>Life is beautiful, you will see...</i>
<i>（西班牙语）生活是美丽的，你会看到…</i>
282
00:43:25,525 --> 00:43:29,129
<i>how in spite of sorrow,</i>
<i>…为何是这样，无论多么悲伤，</i>
283
00:43:29,156 --> 00:43:32,567
<i>you will have friends,
you will have love,</i>
<i>你会有朋友，你会有爱，</i>
284
00:43:32,600 --> 00:43:35,936
<i>you will have friends.</i>
<i>你会有许多朋友。</i>
285
00:43:42,199 --> 00:43:44,971
BARCELONA
<u>巴塞罗那</u>
286
00:44:06,459 --> 00:44:13,551
QUO VADIS
EUROPE
（拉丁语）<u>欧洲</u>
你向何处去
287
00:44:15,676 --> 00:44:19,487
Is there a single act in the world
of which I could still claim today...
现今在这个世界上，还有没有
一种行为我仍然可以声称为…
288
00:44:19,513 --> 00:44:21,214
that "I have done it?"
“我做了”？
289
00:44:21,481 --> 00:44:25,252
My business, the garage,
Catherine wants to sell it.
我的生意，那加油站，
<u>卡特琳娜</u>想把它卖掉。
290
00:44:25,279 --> 00:44:29,590
Her friend wants to buy it.
They know it. I don't.
她的朋友想买下来。
他们知道，我不知道。
291
00:44:30,157 --> 00:44:32,853
I know bookkeeping, yes.
我知道怎么记账，是的。
292
00:44:38,265 --> 00:44:41,502
France is facing today the
largest risk in its history.
<u>法国</u>目前面对的是
历史上最大的危险。
293
00:44:41,736 --> 00:44:45,237
One has to know how to say "We"
before one can say "I".
人们必须知道如何说“我们”
在可能说“我”之前。
294
00:44:45,472 --> 00:44:48,309
A drama that we debate, in
the hope that we can end it.
我们就一出戏剧发生争辩，
希望我们能够结束它。
295
00:44:48,345 --> 00:44:52,845
A tragedy? Not at all.
Everything remains neat.
一出悲剧？完全不是。
一切都井井有条。
296
00:44:53,180 --> 00:44:57,617
Everything remains among us.
We ignore each other.
一切都发生在我们之间。
我们彼此忽视。
297
00:44:57,752 --> 00:45:00,287
Wars everywhere,
for the last fifty years.
过去五十年里
到处都是战争。
298
00:45:00,488 --> 00:45:04,424
We see ourselves in war
like in a mirror.
我们在战争里看到我们自己，
就像在照一面镜子。
299
00:45:05,459 --> 00:45:07,460
One can buy time.
人们可以购买时间。
300
00:45:08,430 --> 00:45:10,897
It needs courage in order to think.
为了思考人们需要勇气。
301
00:45:11,432 --> 00:45:13,901
Love your neighbor?
Ridiculous.
爱你的邻居？
荒谬。
302
00:45:14,035 --> 00:45:17,471
You would have to love yourself enough
to not do bad to your neighbor.
你只有足够爱你自己，
才不会去害你的邻居。
303
00:45:17,639 --> 00:45:19,805
Today that becomes impossible.
如今那已变得不可能了。
304
00:45:19,941 --> 00:45:23,544
If you follow the law
or if you break it...
如果你遵守法律，
或者你违反法律……
305
00:45:24,005 --> 00:45:26,112
Don't say all this, dad.
别说这些了，爸爸。
306
00:45:26,782 --> 00:45:30,283
And I ask you:
Why don't you love us?
然后我问你：
为什么你不爱我们？
307
00:45:32,052 --> 00:45:37,258
Ideas separate us.
But dreams bring us closer...
思想将我们隔开，
而梦想将我们拉近……
308
00:45:37,458 --> 00:45:39,660
No, nightmares.
不，都是噩梦。
309
00:45:41,262 --> 00:45:44,362
Because there's love and pride
in the blood of the father...
因为父亲的血液中
存有爱和骄傲，
310
00:45:44,398 --> 00:45:46,532
and thus hate.
因此也就有恨。
311
00:45:47,034 --> 00:45:50,737
So what have you found today
to piss us off?
那么今天你又发现什么
可以让我们生气的事了？
312
00:45:51,245 --> 00:45:55,810
I love my brother, first of all.
We've just debated brotherhood.
我爱我弟弟，这排第一。
我们刚辩论过手足之情。
313
00:45:56,010 --> 00:45:58,812
- And liberty.
- Liberty, above all else.
- 还有自由。
- 自由最重要。
314
00:45:59,213 --> 00:46:03,450
And once the hour of equality comes
I will speak to you of shit.
一旦平等的时刻来临，
我会对你说“去你妈的”。
315
00:46:03,650 --> 00:46:07,954
Okay, Flo.
But why don't you love us?
好吧，<u>弗洛</u>。
可你为什么不爱我们？
316
00:46:12,527 --> 00:46:16,497
Excuse me, Miss...
Excuse me? Miss, hello...
（德语）对不起，小姐…
对不起？小姐，你好……
317
00:46:16,537 --> 00:46:19,567
We want to go to the Cote d'Azur.
Is this the right direction?
（德语）我们想去<u>蓝色海岸</u>，
这个方向对吗？
318
00:46:20,101 --> 00:46:22,570
Are we on the right way
to the Cote d'Azur?
（德语）我们走的这条路
是通向<u>蓝色海岸</u>吗？
319
00:46:22,637 --> 00:46:24,238
Straight? Left? Right?
（德语）直走？向左？向右？
320
00:46:24,363 --> 00:46:26,354
Go to invade another country!
入侵其他国家去吧！
321
00:46:26,374 --> 00:46:31,310
- Unbelievable. Scheiss French!
- Scheiss France!
- （德语）怎么回事？该死的<u>法国</u>佬！
- （德语）该死的<u>法国</u>！
322
00:46:33,681 --> 00:46:36,584
Ach, Germany.
（德语）噢，<u>德国</u>。
323
00:46:50,265 --> 00:46:52,832
- Go, mother.
- Go, mom...
- 走吧，妈妈。
- 走啊，妈妈……
324
00:46:52,935 --> 00:46:59,774
Yes. To keep space and
time intact, I have lied.
好的。为了保持空间和时间
不受影响，我撒谎了。
325
00:47:00,308 --> 00:47:04,978
I neglect to live them.
That's a bit unfair.
我忽略生活在其间。
那有点不公平。
326
00:47:05,646 --> 00:47:07,382
That's a bit unfair.
那有点不公平。
327
00:47:07,816 --> 00:47:13,321
But for me, that seems
to be the way I do it.
但是对我来说，
那似乎是我采取的方式。
328
00:47:13,755 --> 00:47:16,591
- I always think that I'm elsewhere.
- (Forget it.)
- 我总是想我在别处。
- （忘了吧。）
329
00:47:16,759 --> 00:47:18,993
- I always think that I'm elsewhere,
- (Forget it.)
- 我总是想我在别处，
- （忘了吧。）
330
00:47:19,059 --> 00:47:21,234
- and that no particular moment has any...
- (Forget it.)
- 没有什么特别的时刻具有任何…
- （忘了吧。）
331
00:47:21,269 --> 00:47:23,064
importance.
…重要性。
332
00:47:23,099 --> 00:47:24,766
Nothing else?
没有别的了？
333
00:47:25,400 --> 00:47:28,736
There's a figure, the mother.
有一个人物：母亲。
334
00:47:28,837 --> 00:47:33,325
For her, it doesn't matter
if she has a life at all.
对她来说，她是否有生命
完全没有关系。
335
00:47:33,375 --> 00:47:38,177
If one considers the fact to
have a life as a fact by itself.
如果人们认为具有生命
这一事实本身就是事实。
336
00:47:38,847 --> 00:47:45,487
She will never ask herself,
not once, if she is still alive.
她绝不会问她自己，
哪怕一次，她是否还活着。
337
00:47:46,187 --> 00:47:48,692
She will never have the idea
to just ask herself...
她绝不会有这样的念头，
想要问她自己…
338
00:47:48,723 --> 00:47:51,458
why and how she exists.
…为什么她存在，如何存在。
339
00:47:52,393 --> 00:47:55,496
After all, she is not aware
that she is this figure,
总而言之，她不会意识到
她就是这个人物，
340
00:47:55,564 --> 00:47:58,499
because she is never,
not for a single moment,
因为她从来没有，
哪怕只有一刻，
341
00:47:58,600 --> 00:48:03,537
separated from her role.
She doesn't know that she has one.
与她的角色分开过。
她压根不知道她是一个角色。
342
00:48:04,115 --> 00:48:05,064
And so...
因此…
343
00:48:05,240 --> 00:48:09,477
the blood of the mother,
full of hate...
母亲的血，充满了恨…
344
00:48:10,277 --> 00:48:12,814
loves and remains.
…爱和残骸。
345
00:48:48,315 --> 00:48:50,184
Is this Garage Martin?
这里是<u>马丹</u>加油站吗？
346
00:48:54,009 --> 00:48:55,722
Is this Garage Martin?
这里是<u>马丹</u>加油站吗？
347
00:48:58,293 --> 00:49:00,261
Is this Garage Martin?
这加油站是<u>马丹</u>家的吗？
348
00:49:07,167 --> 00:49:09,269
Is this Garage Martin?
这加油站是<u>马丹</u>家的吗？
349
00:49:11,338 --> 00:49:13,474
Flo, what do we have to tell them?
<u>弗洛</u>，我们怎么跟她们说？
350
00:49:13,541 --> 00:49:16,443
We don't speak to people
who use the verb "to be".
我们不跟用动词“是”的人说话。
351
00:49:17,312 --> 00:49:21,348
- Are you working here?
- Yes, but I don't have a contract.
- 你在这儿工作吗？
- 是的，但是我没有合同。
352
00:49:22,350 --> 00:49:24,352
Let's speak to your parents.
让我们和你父母说话。
353
00:49:32,293 --> 00:49:35,796
BALZAC: "Lost Illusions"
（<u>巴尔扎克</u>：《幻灭》）
354
00:49:51,012 --> 00:49:54,249
I'm leaving.
I'll return to the Midi.
我要离开了，
我要回到<u>法国</u>南方去。
355
00:49:55,450 --> 00:49:56,951
And our comrades?
我们的同伴呢？
356
00:50:03,692 --> 00:50:04,992
And our comrades?
我们的同伴呢？
357
00:50:09,765 --> 00:50:11,832
It will be them who decide.
这将由他们决定。
358
00:50:24,045 --> 00:50:25,914
Will they come?
他们会来吗？
359
00:50:53,245 --> 00:50:58,514
（<u>让</u>-<u>雅克</u>·<u>马丹</u>）
360
00:51:02,050 --> 00:51:03,351
It's for the elections.
这是为了选举。
361
00:51:03,686 --> 00:51:07,989
- I'm filming.
- Forget, my dear, forget.
- 我正在拍。
- 忘了吧，亲爱的，忘了吧。
362
00:51:08,523 --> 00:51:11,993
- We have an appointment with them.
- Forget it, madam.
- 我们和他们约好的。
- 忘了吧，女士。
363
00:51:20,008 --> 00:51:23,904
Only two or three minutes
for a declaration.
只要两三分钟，
拍一条声明。
364
00:51:24,406 --> 00:51:27,975
- Who will present it?
- But forget it, forget it.
- 谁来出镜？
- 忘了吧，忘了吧。
365
00:51:28,410 --> 00:51:30,651
- But your parents have made an appointment.
- What parents?
- 但是和你们父母约好的。
- 什么父母？
366
00:51:30,678 --> 00:51:32,179
We're not making this up.
我们没有瞎说。
367
00:51:32,380 --> 00:51:35,316
No, he wanted to say:
What kind of parents?
不，他是想说：
什么样的父母？
368
00:51:35,885 --> 00:51:39,387
Mr. and Mrs. Martin,
they are not your parents?
<u>马丹</u>先生和太太，
他们不是你们的父母？
369
00:51:39,421 --> 00:51:42,690
Please don't use the verb "to be".
请不要用动词“是”。
370
00:51:44,326 --> 00:51:45,960
I don't understand anything at all.
我一点也不明白这是怎么回事。
371
00:51:46,795 --> 00:51:49,864
- So? They're not picking up.
- Give it to me.
- 怎么办？他们不接。
- 把它给我。
372
00:51:50,181 --> 00:51:52,667
It's not surprising that
they all have mobiles...
一点也不奇怪，
他们都有手机，
373
00:51:52,734 --> 00:51:55,169
to say that they are not there.
都会说他们不在。
374
00:51:55,571 --> 00:51:58,806
Excuse me... to say
that they have no time.
对不起…都会说他们没时间。
375
00:52:02,144 --> 00:52:05,181
They really seem to have a problem...
看来他们真有问题……
376
00:52:05,280 --> 00:52:08,082
Finally... use the verb "to have."
终于…用了动词“有”。
377
00:52:08,183 --> 00:52:10,451
Everything will be better in France.
一切在<u>法国</u>会好很多。
378
00:52:14,857 --> 00:52:16,691
Did you find that in Balzac, Flo?
你是在<u>巴尔扎克</u>的书里发现这个的，<u>弗洛</u>？
379
00:52:16,792 --> 00:52:20,897
Florine. If you make fun
of Balzac, I will kill you.
叫我<u>弗洛琳</u>。如果你敢取笑
<u>巴尔扎克</u>，我会杀了你。
380
00:52:31,707 --> 00:52:35,777
- Please, Mr... two or three short questions.
- No.
- 对不起，先生…请问你两三个小问题。
- 不。
381
00:52:35,878 --> 00:52:37,380
- Please, two questions.
- No.
- 对不起，就问两个问题。
- 不行。
382
00:52:46,256 --> 00:52:47,988
One and a half hours late.
晚了一个半小时。
383
00:52:59,434 --> 00:53:01,897
Had this project been carried out
the way it was initially planned,
如果这项计划是按照
当初设计的方式执行的话，
384
00:53:01,937 --> 00:53:04,580
it would have, without a doubt,
given France a lasting advantage...
那么毫无疑问，它会给<u>法国</u>
在数字化书籍方面…
385
00:53:04,606 --> 00:53:06,841
with regards to the
digitization of books.
…带来持久的益处。
386
00:53:06,876 --> 00:53:09,377
But it's failing dramatically.
但是它戏剧性地失败了。
387
00:53:10,580 --> 00:53:12,448
Mr... do you want me to wait for you?
先生…你想让我等你吗？
388
00:53:13,008 --> 00:53:14,883
No... you will pick up
the Prince at the airport...
不用，你去机场接王子吧，
389
00:53:15,017 --> 00:53:16,717
and then return to the office.
然后回办公室。
390
00:53:17,920 --> 00:53:18,921
So?
还有呢？
391
00:53:19,955 --> 00:53:20,923
So?
还有？
392
00:53:21,023 --> 00:53:22,524
So... the presidency,
好吧…是女性任期——
393
00:53:22,624 --> 00:53:25,725
"la", not "le".
用阴性定冠词而不是阳性。
394
00:53:31,633 --> 00:53:35,302
- We'll see.
- It's been seen.
- 我们走着瞧。
- 已经都瞧见了。
395
00:53:35,871 --> 00:53:40,307
Nothing at all. And our convention?
It's the 4th of August today.
完全没有。我们的大会？
今天是8月4号。
396
00:53:44,647 --> 00:53:47,816
Flo is right.
We'll have to wait a bit.
<u>弗洛</u>说的对，
我们不得不要等一会儿。
397
00:53:49,919 --> 00:53:53,754
The show is at 7 pm. We will
still have to do some editing.
节目是在晚上7点。
我们还要做些编辑。
398
00:54:01,106 --> 00:54:03,598
Ten minutes.
I will take care of it.
十分钟。
我会处理好的。
399
00:54:08,403 --> 00:54:10,972
Can I film while we're waiting?
我们等待的时候我可以拍吗？
400
00:54:21,818 --> 00:54:23,119
Nothing at all.
什么都没有。
401
00:54:25,154 --> 00:54:29,310
Why don't we present ourselves
at the elections? Florine and I.
为什么我们自己不能参加选举？
<u>弗洛琳</u>和我，
402
00:54:29,357 --> 00:54:31,527
Not mama or papa.
既不是妈妈，也不是爸爸？
403
00:54:37,199 --> 00:54:39,368
They're dreaming.
Children don't have the right...
他们做梦呢。
儿童没有权利…
404
00:54:39,401 --> 00:54:42,336
to participate in elections,
not even on the regional level.
…参加选举，即使是地区这一级。
405
00:54:46,808 --> 00:54:50,845
Yes, yes, yes... but children
are part of the people.
是的，是的，是的…但儿童
也是人民的一部分，
406
00:54:50,913 --> 00:54:53,314
And it exists, the will of the people.
存在有人民的意志。
407
00:54:54,850 --> 00:55:00,555
We have paid 30% of France's debt,
because you've grown old.
我们偿付了<u>法国</u>30%的债务，
因为你已经成人。
408
00:55:00,659 --> 00:55:06,395
Exactly the sum of profit
that the insurance companies...
这正好是…正好是那些保险公司
从这些债务里…
409
00:55:06,425 --> 00:55:08,495
make of the debt.
…所获得的利益的数目。
410
00:55:10,098 --> 00:55:12,367
And the beautiful dress, can I film it?
那件漂亮的衣服，我可以拍吗？
411
00:55:12,701 --> 00:55:14,237
Yes, why not?
可以，为什么不？
412
00:55:36,493 --> 00:55:37,994
I'm listening.
我在听着。
413
00:55:47,000 --> 00:55:50,772
Today it's not so good.
I had forgotten that.
今天天气不怎么好，
我忘了这茬了。
414
00:55:50,901 --> 00:55:52,841
They're both born on the same day.
他们俩的生日是在同一天。
415
00:55:53,010 --> 00:55:55,992
On every birthday,
Jean-Jacques and me...
在每个生日，
<u>让</u>-<u>雅克</u>和我…
416
00:55:56,077 --> 00:56:01,017
we'll accept a debate with them,
based on democratic principles.
我们都会接受一场与他们之间的辩论，
基于民主的原则。
417
00:56:09,091 --> 00:56:10,992
And it's them who direct it?
是他们导演的？
418
00:56:13,963 --> 00:56:17,466
More or less.
We have signed a convention.
差不多吧。
我们签了份协议。
419
00:56:17,632 --> 00:56:21,269
But that's great.
We have to film that.
那太好了！
我们得把那拍下来。
420
00:56:24,004 --> 00:56:28,810
We're working at night.
We're doing what we can.
我们在夜间工作，
干些力所能及的活儿。
421
00:56:34,918 --> 00:56:37,352
We're giving what we have.
我们能干什么就干什么。
422
00:56:38,254 --> 00:56:43,258
- How long is this going to take?
- 24 hours. It's their right.
- 这个要拍多长时间？
- 24小时。这是他们的权利。
423
00:56:51,301 --> 00:56:54,602
So either you wait, or
you come back tomorrow.
要么你可以等着，
要么你可以明天再回来。
424
00:57:02,579 --> 00:57:05,581
We're waiting.
We're waiting.
我们等着。
我们等着。
425
00:57:07,216 --> 00:57:10,385
I will borrow Catherine's car
and I will be back in a bit.
我要借用一下<u>卡特琳娜</u>的车，
我会马上回来的。
426
00:57:10,686 --> 00:57:13,823
We have to take care of the Garage.
我们得处理加油站的事。
427
00:57:15,390 --> 00:57:16,525
Oh, shit.
噢，见鬼！
428
00:57:23,265 --> 00:57:24,933
Be careful, mom.
小心，妈妈。
429
00:57:30,265 --> 00:57:35,833
CCCP
（俄语）“苏维埃社会主义共和国联盟”
430
00:57:56,265 --> 00:58:01,268
Yes... all of you...
I'm able to mess you up.
是的，是的??
4 ) 地中海，欧罗巴
http://site.douban.com/widget/articles/219753/article/13035038/
5 ) 戈达尔的社会主义
电影分成三个部分，我们可以把这三个部分概括为，我们的世界，我们的人类文明，我们的欧洲，范围逐渐缩小，最后把焦点聚合到欧洲大陆。
我们的世界：
地中海上的一艘豪华游轮上，聚集了不同国家，不同文化，不同背景，不同种族，不同地位的游客，这些游客恰巧组成了这个世界。对我而言，这些个体的生命代表了世界的缩影，支离破碎的影像只是为了把不同的国家拼凑在一起，组成一个完整的世界。
我们的人类文明：
电影让我们欣赏到六个具有神话色彩的国家，埃及、巴勒斯坦、希腊、敖德萨、那不勒斯、巴塞罗那。是什么导致这些文明的消失，无非是历史进程中的战争，戈达尔在控诉战争对人类文明的摧残，当这些逝去的文明重现在我们眼前的时候，也只能扼腕叹息。
我们的欧洲：
阐述欧洲的时候，戈达尔用了一个浅显易懂的故事，然而，对于自由和平等的渴望却震慑人心。而自由和平等却是我们一直追求的权利，时至今日，越来越多的人意识到，自由和平等不过是一个乌托邦式的预言。
故事的背景设计的非常的有意思，一段海上旅程，而大海恰好是孕育生命的温床，个体生命在这样的背景之下显得格外微不足道，而这些微不足道的生命创造了世界文明，却又制造了战争，来毁灭文明，然而这个世界到底是进步了，还是退步了？
世界本身就是一个多面体，有些人不停的在追逐物质，有些人不停的在享受精神，当人们处于一个安逸平和的环境中时，他们就能很好的享受这种环境，当人们处于一个动荡不安的时代中去，他们就用各种方式明哲保身或者革命者。人类，其实是一种很单纯的物种，看起来，我们拥有很多的选择权，其实还是被选择，被这个社会选择，被身份选择，被职位选择。
看了多部戈达尔的电影，我觉得这个老头不是不好好讲故事，而是不会讲故事，在电影技术大步前进的今天，戈达尔还是沉浸在自己的意识海洋中，拍摄出这样一部晦涩难懂的电影，不难看出，戈达尔一辈子都在反好莱坞，这部电影依然如此，只不过没有当初那么激烈，毕竟岁数大了，也知道好莱坞在时下电影市场中的地位，《电影社会主义》，看起来也有些苟延残喘。
6 ) 最全注释：对戈达尔影射最多的影片的一个导览
Film Socialisme Annotated A guided tour through Jean-Luc Godard's most allusive film 原载于 2011 年 6 月 7 日
一年前，一个不具名的法国团体在独立网（Independencia）上发表了对《电影社会主义》的笔记和注释，洋洋千言。 后来，这篇文章重新出现在西班牙语在线刊物《光》（Lumiere）关于《电影社会主义》的特刊（descargar el numero Film Socialisme integro）上，扩充了内容、署了名，并译为了西语。 在这个西语版中，这个“法国团体”的成员露面了：吉约姆・布尔瓜（Guillaume Bourgois）、尚－路易・勒特哈（Jean-Louis Leutrat）、苏萨讷・梁德哈－纪格（Suzanne Liandrat-Guigues）、阿尔杜尔・马斯（Arthur Mas）、马尔西亚勒・毕萨尼（Martial Pisani）和包利尼・苏拉（Pauline Soulat）。 他们一道分享了从字幕卡（intertitle）切入影片的思路，分享着媒体资料的来源，在这部可能是戈达尔影射最多的长片里，在各个历史地点和人物之间理出头绪，而这也是戈达尔留给观众用自己的头脑去做的。
A year ago, an anonymous French collective published a few thousand words of notes and annotations on Film Socialisme for the Web site Independencia. The piece resurfaced in the Spanish online publication Lumiere some time later, expanded, credited, and translated into Spanish for a special issue on Film Socialisme [click "descargar el numero Film Socialisme integro" to download the PDF]. In this Spanish version the members of "the collective" are revealed: Guillaume Bourgois, Jean-Louis Leutrat, Suzanne Liandrat-Guigues, Arthur Mas, Martial Pisani, Pauline Soulat. Together they divvy up approaches to the movie based on its intertitles, pass around sources, and make the sorts of links and connections between historical places and people that Godard, in what's possibly his most allusive feature film (currently showing in New York at the IFC Center), has left for the viewer to bring together in his/her own mind.
以下既是对影片本身，也是对法语版以及西语版注释的一个取样、探索。西语版注释不仅包含法语原版的几乎全部内容，而且在长度上扩充了两倍。下面未翻译的部分中，有关于动物和 80 年代戈达尔关于动物的项目的笔记；有关于电影中俄罗斯间谍的来源，那是一个在她的祖国著名的虚构的侦探；还有关于全片中反复出现的一个不起眼的埃及法老。以下片段译自这两个信息源，至少包含了一些不尽相同的词句，而其结果，就是用第 3 种语言（英语）提供了第 3 个版本，却诡异地和这部片子相得益彰——片中正是把世界展现成了巴别塔的废墟。 所有这些只是线索，来找到可能切入影片的思路，但我也希望提出影片使用的这些名词，能对人有所启发。
感谢艾乌黑尼欧・兰奇（Eugenio Renzi）、费尔南多・冈佐・古埃斯塔（Fernando Ganzo Cuesta）。献给勒特哈。
——大卫・菲尔普斯（David Phelps）
What follows is as much a sampling and exploration of the movie itself as it is of the French and Spanish versions of the annotations. Both are longer than the translation below; the Spanish version is about twice as long as the original French, and contains nearly its entirety. Among some of the sections not translated below are notes on animals and Godard's '80s animal project; on the source of the movie's Russian spy, a famous fictional detective in her homeland; and on an obscure Egyptian pharaoh who recurs throughout the movie. The excerpts below, translated from both sources, include at least a few lines unique to each, and the result, weirdly appropriate to a movie that shows the world like the ruins of Babel, adds a third version of the notes in a third language. I've tried to mark my elisions with a "[...]" in case, at any point, an enterprising polyglot and Godard fan would like to start an open-source translation of the rest. Altogether these only hint at the approaches that might be taken to the movie, but in giving some of the terms in which it operates, will hopefully inspire more. Thanks to Eugenio Renzi and Fernando Ganzo Cuesta. For Jean-Louis Leutrat. —DP
无可奉告。
《电影社会主义》最终的字幕卡，让人想起欧洲新闻台（Euronews）一档著名的同名节目，而且好像预告了导演会缺席戛纳，也预告了面对影片招来的评论时的虚弱。 因为不可能临时起意，来阐释一个我们不知如何描述的东西。 因此，我们绝不敢给《电影社会主义》盖棺定论。而是最好从盘点字幕卡“像这样的东西”（choses comme ça）开始：这句话接二连三地出现在屏幕上，为我们讲着故事，也推进了故事背后的各条叙事线索。 影片的 5 个预告片把《电影社会主义》的一系列潜在的主题都叠加了一起；现在轮到我们打开资料夹、列个清单了。
"No comment," Film Socialisme's final intertitle, evoking a famous Euronews program, seems to predict both the filmmaker's absence at Cannes and the frailty of the comments leveled at the film. For it's impossible to propose an off-the-cuff interpretation of an object we wouldn't know how to describe. Far be it from us, then, to offer the final word on Film Socialisme. Better to start here by taking stock of some of the "choses comme ça" ("things like that") that, one after another, arrive onscreen to tell us stories, and then to pursue the narrative threads behind these stories. The movie's five trailers superimpose a series of possible subjects for Film Socialisme; now it's our turn to open the files and make an inventory.
一个集体
首先，为什么把电影和社会主义联系到一起？ 戈达尔提过他有深挖产权、知识产权这些概念的想法； 他这部作品拍了 4 个人组成的集体。吕西安（Lucien）这个角色，是马尔丹一家的儿子，穿着件苏联颜色的 T 恤。
戈达尔在《孩子扮俄国人》（Les Enfants jouent à la Russie）里穿过一件类似的短袖（黑色，而非红色），还评论说：
这是我之前在德国买的......在一部叫《电影社会主义》片子里，我们还是可以展现一些社会主义的标志的。
当被问及“社会主义”一词是否对他还有意义，他答道：
如果我谈的是事物的深度、海的深度和卢梭的深度，那么是（有意义）的。一开始，这部片取名《社会主义》，但这个词涵义太过丰富了。而《电影社会主义》则不一样：一个哲学家（尚－保罗・居尔尼耶 [Jean-Paul Curnier]）给我写了 12 页的信，说看到“电影”出现在“社会主义”边上真是太好了，因为合在一起就有了另一个意思，甚至意味着“希望” 。
在为《电影社会主义》而作的书的结尾，戈达尔和居尔尼耶重现了这个辩论。居尔尼耶把“电影”和“社会主义”联系到一起，并指出两者在 21 世纪初的式微：
最终，对于这两者的极其缺乏野心，我充满了感情，而这些野心如今却被无休无止的不成熟（crudeness）所利用。分别能实现这两者的地方，没人去触及；而通向这个地方的通道，却被堵住了。电影－政治（Cine-politics）、电影－社会主义：两者都静静地呼唤形式上的创新。它们自己的形式上的创新，那些不能超越它们源头的形式上的创新。
一个形式上的创新？对于这个讨论事项，《电影社会主义》老练地作了答。
多数时候，戈达尔对他那些文本的修改是不大的。而德尼・德・胡什蒙（Denis de Rougemont）的《用手思考》（Penser avec les mains）出现的那个蒙太奇，比起来更为复杂：
“manifesto”（宣言）一词里有“main”（手）。屏除（dismiss）了宇宙的，并不是一种骄傲之情——一个理念——一个微笑。
但胡什蒙写的其实是：
而在“宣示”（manifester）一词里有“main”，[...]而不是一种骄傲之情，也不是一个要从杰里科（Jericho）走上危险路途的理念。
对于胡什蒙，爱不是骄傲，也不是理想主义这些东西。在片中，“理想”可以与“骄傲的感情”、“屏除了宇宙的一个微笑”配对，这是戈达尔在 Mediapart 网所作的一个访谈中描述社会主义时使用的词语，而这又来自瓦乐希（Valéry）的一首诗《关于一个声音的诗篇》（Psaume sur une voix）——那是关于马拉美的一篇文章，我们在《电影史》（Histoire(s) du Cinéma）第 4 章开头可以听到：
那是一个柔和、微弱的声音，讲述着伟大的事。
而至于“屏除了宇宙的微笑”，是在本片的第 1、3 部分中出现的，借了尚－达尼艾乐・波莱（Jean-Daniel Pollet）的影片《地中海》中的一尊希腊雕像之口说了出来。每个人都可以按自己的偏好来知觉、认出和铭记——这就是游戏规则......
Mostly, Godard's modifications to his texts are insignificant. More complicated is the montage with Denis de Rougemont's Penser avec les mains (Think with your hands): "In ‘manifesto,' there is ‘main' [hand]. Not a proud feeling—an ideal—a smile that dismisses the universe." But Rougemont wrote: "And in the word ‘to manifest' is ‘main,' (...) not a proud feeling, nor an ideal that follows the path of Jericho." [...] For Rougemont, love is not proud, nor idealistic, etc. In the movie, "ideal" can pair with "proud feeling" or "a smile that dismisses the universe," an expression Godard uses to describe socialism in an interview with Mediapart, and that comes from a Valéry poem, "Psaume sur une voix," about a Mallarmé text we hear at the start of chapter 4 of Histoire(s) du Cinéma: "Of a voice soft and feeble, telling of great things." As for the "smile that dismisses the universe," it's floated by a Greek statue in Jean-Daniel Pollet's Méditerranée, present in the first and third parts of the film. Each person will perceive, recognize, and retain according to his inclination: such is the rule of the game...
关于物品
《电影社会主义》反复出现的许多物品中，至少有两个连起了叙事的不同部分： 没有时针的手表、图片摄影机——后来又变成了电影摄影机。 这两个具有矛盾性的机器跨越了地中海，从一个人手上传到另一个人手上。
现在几点了？（德语Wie wil Uhr ist es）正是时候。
影片最后的台词，让我们想起了金表——它出现在影片开头，又在中间部分得到进一步描绘。 手表的主人——法国电视三台的女摄像师，向吕西安解释了手表的功能，而吕西安则惊奇于指针的缺失：
- 这个表来自埃及。是在泰尔－埃尔阿马那（Tell Armana）找到的。
- 那时候还没有小时什么的啊。
- 是没有，但有时间啊，可以看时候晚（法语 la nuit des temps）还是时候早（法语 le jour des temps）来判断。
Of Things Among the many objects circulating through Film Socialisme, there are two, at least, that link different parts of the narrative: the watch that doesn't give the hour and the still camera that will become a movie camera. Two contradictory machines that cross the Mediterranean, passing hand to hand. "Wie wil Uhr ist es? Just the right time." The movie's final dialogue recalls the gold watch evoked in the first minutes, and portrayed in the central section. Its owner, the camerawoman of France 3, explains its function to Lucien, who's surprised at its absence of hands: "It comes from Egypt. It was found in the Tell Armana." "But there's no hours or anything." "Yes, but there's time, the dawn of time [la nuit des temps, literally "night of time"] and the daybreak [le jour des temps, "day of time"] that will decide."
这件来自品牌“夜与昼”（Nuit et jour）的首饰，在第 1 部分中已经出现在贡斯坦斯（Constance）的手腕上，引起了她的教子吕铎的兴趣：
为什么你说这块表像金子一样珍贵？它连计时都不行。
为什么这件独特的物品会出现在片中两个黑人女子的腕上？答案只有一个：第一个人在阿尔及尔上船，却在埃及停留时弄丢了表。于是，表串起了影片的三部分——“像这样的东西”、“欧罗巴往何处去”（Quo Vadis Europa）和“我们的人性”。
This jewelry, from the brand Night and Day, was already on Constance's wrist in the first part, and elicits the interest of her godson, Ludo: "Why did you say it's worth gold? It doesn't even mark the time." A sole solution for why this singular object is on the wrists of the movie's two black women: that the first, who embarked at Algiers, mislaid it at the Egyptian stopover. The watch would then be the link between the three parts of the movie: "Things Like That," "Quo Vadis Europa," and "Our Humanities."
各部分之间还有另一件常见的物品：图片摄影机。在科斯塔号船上，游客们对着风景和周围停不下来地拍照；而戈达尔也会用一台这样的数码摄影机拍几张。相反的是，在第 2 部分中，却没有这些五花八门的设备，而是被一个数码摄录机取代。对戈达尔来说，这是图像制作的两种“不好的”方式，而他在第 3 部分用那些伟大的摄影记者——的工作来反对之：先是罗伯特・卡帕，其标志就是他的一幅著名的肖像照，还有罗曼・卡门（Roman Karmen）——卡门 1936 年在巴塞罗那遇到了卡帕。而在最后的部分中手持一部电影摄影机的摄影师是卡帕，那可不是意外。 戈达尔特意忽略了电影和摄影的差异；他从不对重复感到疲倦，自从《远离越南》开始，两张照片就足以制造一个蒙太奇，也就是说可以制造电影。这就跟 ABC 那么简单，而最后我们看到手持摄影机的，就是一个孩子，叫阿丽莎（Alissa）。
Another common object between the sections: the still camera. On the Costa ship, the tourists won't stop taking photos of the landscape or its surroundings; Godard will also make use of one of these digicams to shoot certain shots. In the second part, by contrast, there's no trace of these versatile gadgets, now replaced by a single digital camcorder. Two "bad" ways of making images for JLG, who opposes them in the third section with the work of the great photojournalists: Robert Capa, signaled by a famous portrait, but also Roman Karmen, who met him in Barcelona in 1936. And it's no accident if it's the photographer, Capa, who holds a movie camera in the final part. Godard voluntarily ignores the difference between cinema and photography; he's never tired of repeating, since Far From Vietnam, that two photos are enough to make a montage, that is, cinema. It's as easy as ABC, and it's a kid, Alissa, who will last be seen camera-in-hand.
关于希腊
在影片的第 3 部分中，戈达尔展示了密涅瓦的鸟——一只猫头鹰，似乎是站在希腊剧院的台阶或者敖德萨阶梯上；这显然在致敬克里斯・马尔凯（Chris Marker）。
这个希腊，我们从她那里继承了一大笔债。一个双面的债。既是民主，但按照汉娜・阿伦特，也是亚里士多德式逻辑之下的极权主义：
问题是我们照搬了在古地中海时期他们超越了的模式。那个模式沾染了他们的香气、他们的颜色，还有他们索要的西方世界的整个生活。
Greece [...] In the third part of the movie Godard shows Minerva's bird, an owl that may be on the stairs of a Greek theater or the steps of Odessa; the homage to Chris Marker is clear. [...] Thus Greece, for the considerable debt we've inherited from her. A double-sided debt. Democracy, but, according to Hannah Arendt, also the totalitarianism of Aristotelian logic: "The thing is we're copying the same model they surpassed in the ancient Mediterranean. It's been tinted with their perfume, their colors, and all their claims for the entire life of the western world."
关于金子
《电影社会主义》的第一个镜头展现了一个农场上的一对鸟儿。鹦鹉，西班牙语叫 el loro（原意为金子）。 而金子就是问题所在：上面提到的表、阿丽莎的金项链、赌场，还有个神神秘秘的旅人叫“奥托・哥德贝尔格”（Otto Goldberg，字面意思为金山）、一个位于瑞士外省的加油站的“黑色金子”（石油），以及 1936 年秋从西班牙银行的储备运往苏联的金子。这笔财宝，更为人所知的名字是“莫斯科黄金”，1936 年 9 月 14 日从卡塔赫纳（Cartagena）运走，之后装上了 4 艘苏联的船，于 10 月 25 日驶往敖德萨港。
而戈达尔重写了故事，想象金子是由 1937 年创立的法国航海（France Navigation）公司在巴塞罗那装上船的；抵达敖德萨时，船只丢了 1/3 的货，都被德国人盗走了，剩下的 1/3 强则在前往莫斯科的路上，被共产国际负责在西方的宣传的威利・门岑贝尔格（Willi Münzenberg）扣下了。 所以，戈达尔用前后矛盾的日期讲了一个传奇，却没有漏掉现实中的出发港，于是付出的是地理上互相矛盾的代价——在影片的第 3 部分中，卡塔赫纳的罗马圆形剧场却被放在了来自希腊的一系列图像中。
Of Gold The first shot of Film Socialisme shows a pair of birds on a branch. "Parrots"; loro ["el oro": the gold] in Spanish. Gold is the question: of the aforementioned watch, Alissa's necklace of gold, the casino, but also an obscure traveler who goes by "Otto Goldberg" ("the mountain of gold"), the "black gold" of a Swiss province gas stop, and the transport, in the autumn of 1936, of the Bank of Spain's reserves to the USSR. This treasure, better known by the name "the Moscow Gold," was taken to Cartagena [Spain] on September 14, 1936, and afterward sent in four Soviet ships that left for Odessa on October 25. Godard retells the story by imagining that the gold was loaded in Barcelona by the company France Navigation, founded in 1937. Upon arrival in Odessa, the ship would have lost a third of its load, robbed by Germans, and a third more in the trip to Moscow, sequestered by Willi Münzenberg, responsible for the Comintern propaganda in the West. So Godard tells a legend based in contradicting dates, but doesn't omit the actual port of departure, at the price of another geographical contradiction: in the third section, the Roman amphitheater of Cartagena is now included in a series of images on Greece.
在这个首次穿越地中海的航行中，《电影社会主义》的游船从阿尔及尔（Argel）回到巴塞罗那，但正如一位乘客惊讶地注意到的那样，期间经过了敖德萨。因为影片正是对扣押莫斯科黄金所作的一个调查。 一位年轻的俄罗斯女孩——上校凯敏丝基亚（Kamenskïa），正在调查从敖德萨到首都中间消失的 2/3 的财宝，然后发现一个老人——高德贝尔格应该换了个身份来参与盗窃第一笔1/3 的黄金。 从那时起，对话中提到巴勒斯坦银行的黄金，同样也是离奇消失，而这也说明了为什么一对巴勒斯坦夫妇和一个摩萨德特工会出现在船上。
To this first trip across the Mediterranean, the cruise of Film Socialisme responds, now returning from Argel to Barcelona, but, as a surprised passenger remarks, passing through Odessa. For the movie is an investigation precisely into the seizing of the Moscow gold. A young Russian girl, Major Kamenskïa, is investigating the two-thirds of the treasure that vanished between Odessa and the capital, and finds Otto Goldberg, an old man who would have participated under another identity in the theft of the first third. From there, the dialogue references the gold of the Palestinian bank, which would also have disappeared in mysterious circumstances, and which we might imagine justifies the presence of a couple Palestinians and a Mossad agent on the boat.
戈达尔重拾了由费尔南・布罗代尔在 1946 年的一篇文章中所启动的一个故事的线索，而影片第 3 部分对此是这样引用的：
钱和文明：从苏丹的黄金到美国的金钱。
这位著名的历史学家展示了对黄金的占有如何为接连窃取黄金的那些政权而确保了后来的财富。从这个视角看，西班牙黄金的旅程只是一个 16 世纪就开始了的故事的结尾，而电影人却将其转变为一个 20 世纪的神话。
世界历史的篇章就这样押韵了。押的就是传说中的金钱之韵。
布罗代尔文章的结语同样可以作为《电影社会主义》的结论。
Godard picks up on the thread of a story launched by Fernand Braudel in a 1946 article cited in the movie's third part, "Money and civilization: from Sudan gold to American money." The famous historian demonstrates how the possession of gold has assured the subsequent wealth of powers that stole it one-by-one. From this perspective, the journey of the Spanish gold is only the end of a story that started in the 16th century, and which the filmmaker transforms into a 20th century myth. "And so rhyme the chapters of world history. With the cadence of the fabled money": the last words of Braudel's essay could serve equally as Film Socialisme's conclusion.
关于混蛋们
如今变了的，是混蛋们都很真诚。
在第 1 和第 2 部分中，这话说了两遍。 可说的是哪些混蛋？首先是里夏尔德・克里斯特曼（Richard Christmann），第 1 部分的主角们围绕着他而展开的一个历史人物。一个纳粹情报网阿勃维尔（Abwehr）的这位老特工，在二战中曾是一名双面或者三面间谍。1940 年，在戈达尔的虚构中，他参与了在巴塞罗那和敖德萨之间对西班牙黄金的盗窃。此外，他还负责逮捕了人类博物馆（Musée de l'Homme）的抵抗网络的成员，并且拷打了其中的成员阿丽丝・西莫奈（Alice Simmonet）。后来，他被发现为阿尔及利亚民族解放阵线服务，之后则成了“拜耳和罗讷－普朗克（一家法国制药公司）的代表”。他用过的假名有莱奥泼尔德・克里维茨基（Léopold Krivitsky）、马尔库斯（Markus）和莫伊斯・施穆克（Moïse Schmucke），而在游轮上则以高德贝尔格的身份出现。另外两名乘客把他搜了出来：凯敏丝基亚少校，负责为俄罗斯政府寻找不翼而飞的黄金的踪迹，以及戴勒马斯（Delmas）中尉——戈达尔在 Mediapart 的采访中，说他是西莫奈的旧情。
Of Bastards "Today what's changed is that the bastards are sincere": the phrase is pronounced twice, in the first and second parts. But which bastards? Richard Christmann above all, a historical character around whom the protagonists of the first part orbit. This old agent of the Abwehr, a Nazi information network, had been a double or triple agent in the Second World War. In 1940, in Godard's fiction, he would have participated in the embezzlement of the Spanish gold between Barcelona and Odessa. He had, besides, the job of arresting the members of the Musée de l'Homme resistance network, and Alice Simmonet, whom he tortured. Later he's found in the service of the Algerian National Liberation Front, afterward "representing Bayer and Rhône-Poulenc [a French pharmaceutical company]." Known under the pseudonyms Léopold Krivitsky, Markus, and Moïse Schmucke, he presents himself as Otto Goldberg on the cruise. Two other passengers search him out: Major Kamenskïa, charged with finding the trail of gold that vanished for the accounts of the Russian government, and Lieutenant Delmas, to whom JLG, in the Mediapart interview, ascribes an old flame for Simmonet.
他们擦肩而过的不同乘客，来穿越地中海的原因各种各样：一个摩萨德间谍镶着金牙，一对巴勒斯坦夫妇，3 个知识分子（分别是作家、哲学家和经济学家），一位年轻女人贡斯坦斯，以及她的伴侣和她的教子吕铎，而吕铎与克里斯特曼的孙女阿丽莎交上了朋友。这与其说是一次游船旅游，不如说是一届国际混蛋峰会。当老人和年轻女孩穿过大厅时，他们被一个监控摄像头观察着：乘客们在监视着间谍。
后来，戴勒马斯做了《影子写手》《绿区》的主人公所做的事：他在互联网上寻获信息。技术规格表、机密的罪行、国家机密——从今以后，一切都可以从谷歌得到。
关于故事（历史）（Of [Hi]stories）
民主和悲剧在雅典的佩里克利斯和索福克勒斯的手下结合在了一起。他们的独生子：内战。
在《电影社会主义》所构建的 20 世纪的历史中，古希腊的这一遗产成了核心事实，而各种的意识形态和事件都围绕着它来安排。西班牙，特别是巴塞罗那，在 1937 年 5 月成了共和派之间一场自相残杀的战斗所发生的剧场，还有战后的希腊、1905 年的敖德萨，甚至巴勒斯坦，都不仅是社会主义的大写的历史（History）的碎片，而是一场永恒的兄弟之间－内（civil-fraternal）战的现场。当然，是有可能回味以下戈达尔的末日论调，但不可能的是对此悔过。因为《电影社会主义》是一首“悲哀之歌”，一曲悲怆的（pathétique）哀歌，就像第 2 部分的卫生间放的贝多芬奏鸣曲《悲怆》。
Of (Hi)stories "Democracy and tragedy were married in Athens under Pericles and Sophocles. A single child: the Civil War." In the constructed history of Film Socialisme's 20th century, this legacy of ancient Greece becomes the central fact around which ideologies and events are arranged. Spain, in particular Barcelona, which was in May of 1937 the theater of a fratricidal combat among Republicans, but also post-war Greece, 1905 Odessa, and even Palestine are all not only History's pieces of socialism but the sites of an eternal civil-fraternal combat. Of course it's possible to relish Godard's apocalyptic tone, but impossible to regret it. For Film Socialisme is a "song of woe," a lament pathétique, like the Beethoven sonata of the same time which is heard in the bathroom of the second part.
这段欧洲历史也是抵抗运动的历史：埃及人在影片《再见，波拿巴》中反对拿破仑的历史，那不勒斯人反对德国驻军及其意大利盟友的历史，当然也是法国抵抗运动的历史，包括对人类博物馆的抵抗网络和“马尔丹（Martin）一家”的追忆。 但最后提到的这点，是在给中间部分作结的那些字幕卡之中得到了引用和解释的，而这无疑掩盖了更多的指向。因为实际上，戈达尔把两个没有任何关联的抵抗网络结合在了一起。
第 1 个——“马尔丹一家”，是科尔马地区周围的一个组织，负责将战俘和阿尔萨斯地区的抵抗组织成员偷渡出孚日山脉和瑞士边境。这个任务肯定得到了这位电影人（戈达尔）重新的注意，因为他就是在罗勒（Rolle）边上的一个瑞士车库里，拍摄了一户法国家庭在一次选举活动中的日常生活。
第 2 个，则是“解放与联邦”（Liberate and Federate），那是 1942 年在图卢兹，围绕着西尔维欧・特杭丹（Silvio Trentin）这个人物而有效地建立起来的；他是一位 1926 年在法国避难的意大利老议员、一位社会主义知识分子和联邦主义者，也是“欧洲合众国”的一位信奉者。 对于电影人在两个组织之间串起的奇怪的关系，至少有两种解释。 首先，“马尔丹”的团体是存在过的，由乔塞普・霍维哈（Josep Rovira）领导；那是一位马克思主义统一工人党（POUM）在加泰罗尼亚的共和派，负责穿越比利牛斯山脉，而且还是在图卢兹活动的逃生网络 Vic 的一份子。 此外，还有对于 50 年代初的一个口号的记忆——戈达尔在他对侯麦的简短致敬中提过这个： "解放昂西・马尔丹（Henri Martin）。“ 作为一名共产主义抵抗组织的成员，这位士兵兼水手因为参与破坏活动的共谋和宣传反对印度支那战争而被监禁。 电影从重新联合了两个抵抗运动的一幅拼贴出发，通过在墨索里尼上台后动员起欧洲的伟大政治斗争，到欧洲的去殖民化和建设，中间经过西班牙内战和二战抵抗运动，从而编织了一条团结的路线。而这条团结路线的名字，就叫以社会主义。
在影片的第 3 部分“我们的人性”中，戈达尔提出了另一种“抵抗”的人物，而且这一次很私人：他的叔祖父泰欧道尔・莫诺（Théodore Monod）。在他穿越毛里塔尼亚探险的那些图像中，电影人让我们听到了尚・热内（Jean Genet）的一句话，呼吁着另一种解放，即语言的解放：
把语言的所有意象都藏起来，并随意取用，因为它们在沙漠中，而你必须找到它们。
关于言语
戈达尔总是准备好了给他的诋毁者推波助澜，而在《电影社会主义》中更是极大地增加了引文，从拉罗什富科一直到昂西・吉诺（Henri Guaino），也增加了多门语言，甚至连他的那些声音来源也大增了，同时还令人惊讶地使用了立体声。
对话，鸡奸。 （注：很明显，这是个不恰当的翻译。原文“对话，性交！”（Dialogue, foutre!），是“1834 年 11 月 26 日”出自司汤达之手的。“Foutre“的英语是”fuck“，而这个”fuck“历来都保持着其粗俗以及性的内涵：两种事物之间——在某个程度上的——一种联结、一种交换和对话）
司汤达的这句话出现在了出版的影片剧本的封底上，为全书定下了基调。而这个基调又会是被随便的态度所掩盖的老练。 当扮演戴勒马斯的演员说话结巴的时候，电影制作者（戈达尔）决定保留这条拍摄，不管这是不是加倍的“糟糕”，因为有人在后面听到是他自己告诉演员继续的。这也是昂德黑・S・拉巴尔特（André S. Labarthe）在《女人就是女人》的拍摄前后那阵子所指出的：戈达尔保留了那些意外和错误，甚至是被技术失误所损坏的镜头。因此，高德贝尔格种种之前的身世是由一些定格镜头来隔开的，直到镜头成了一条条像素带，搞得观众还以为是放映有问题。
Of Words Always ready to fuel his detractors, in Film Socialisme Godard multiplies the citations, from La Rochefoucauld to Henri Guaino, the languages, and even his sources of sound, with a surprising use of stereo. "Dialogue, buggery"2: Stendhal's phrase, featured on the back cover of the published script, sets the tone. Once again this tone will be sophistication under the cover of the offhand. When the actor playing Delmas stammers, the filmmaker decides to keep the take, however doubly "bad" since he himself is heard, from behind, telling the actor to go on. This is what André S. Labarthe noted around the time of A Woman Is a Woman: Godard keeps the accidents and mistakes, even when the takes are spoiled by technical blunders. So the story of Otto Goldberg's previous lives is punctuated by freezes, until the shot becomes striped with a band of pixels, leaving the viewer to assume there's a problem with the projection. [...]
关于孩子们
......毫无疑问，《社会主义》与《动物》（The Animals，80 年代晚期戈达尔计划中的项目名称）另有联系。在第 1 部分“像这样的东西”中，我们看到了许多动物，鹦鹉和猫，成双成对地叫唤，而马尔丹车库里的动物却是沉默、孤独的。然而，对孩子们的分组正好相反，尽管他们也被分为两组：那些既看又听的孩子，阿丽莎和吕铎，是在影片的第 1 部分，并短暂出现于影片的最后部分，然后是那些既盘问又讨论的孩子，弗洛西讷（Florine）和吕西安，出现在了中间段落。动物和孩子们只能一阵阵地（in bouts）表达自己，因为他们无法与周围的人同时掌握权力。
而在第 2 部分，显然是由孩子们来展示他们的权利了。不仅如此，他们的年轻，就是他们当选的主要理由。
有了 20 岁年纪。有理性。有希望。当你的政府错了的时候，要有理性（法语 Avoir raison）。 （注：考虑到 Florine 心中的宣言——”用‘to have’（拥有）取代‘to be’（成为）“——这是一句无法翻译的台词，单这句话也许就能充分证明，给戈达尔（影片）配的（外语）字幕简直是无人会说的纳瓦霍语。法语用词很基础： ”Avoir vingt ans. Avoir raison. Garder de l'espoir. Avoir raison quand votre gouvernement a tort.“ 这要是在教科书中会被译成： “To be 20. To be right. To maintain hope. To be right when the government is wrong.” 但当“to have”的相对性被“to be”的本质主义所取代时，整个的意义就变成了比Florine站在“正确”一边还要自以为是的东西了，从而错过了“avoir raison”的简洁：to have reason）
这就是弗洛西讷在他们的卫生间向她的母亲描述的纲领。这不禁让人想起夏尔勒・佩吉（Charles Péguy）在《我们的青春》（Notre jeunesse）（1910 年）中的宣言，刊登于 1957年 10 月 3 日《快报》的封面，宣告了新浪潮的到来：
20 年了。我们是中心和心脏。轴心也经过我们。得由我们的手表来看时间了。
在影片的所有角色中，弗洛西讷是无疑有着最重要的对话的人，几乎独占了中间部分的讲话。从她首次登场开始，靠在加油机上，手里拿着书，这个女孩就摆出了宣讲的姿势。
就像《中国姑娘》《周末》中的尚－皮埃尔・莱奥（Jean-Pierre Léaud），她用戏剧手法（theatrical rigging）重演了法国大革命。 而在她所读的书中，有个女演员的角色与她同名。弗洛西讷，是巴尔扎克的小说集《人间喜剧》中一个特别早熟的女主角，在小说《幻灭》中首次亮相，而她之所以出名，得益于记者们报道了她在戏剧全景（Panorama Dramatique）剧院的最早的那些演出，特别是得益于故事主人公吕西安・德・吕邦泼雷（Lucien de Rubempré）的一篇文章。 弗洛西讷和吕西安发现他们的名字来自巴尔扎克，而在第 1 部分的一个镜头中，吕铎给了阿丽莎一本昂德黑・纪德（André Gide）的小说《窄门》，被她立即打开了。而在这本书中，女主人公正是被叫作阿丽莎。
所有这些，除了在名称上玩的游戏之外，都可以解释电影中的 4 个孩子面对成年人的焦虑时的轻松自信：当成年人为自我表达而挣扎，孩子们却对他们自己的文本胸有成竹。 卢斯托（Lousteau）在《幻灭》中说，弗洛西讷“是世界上最伟大的小说读者”。而在她进入其场景之前，剧本作者杜・布吕艾勒（Du Bruel）给了她一些最后的建议：
Of all the characters in the movie, Florine is without a doubt the one with the most important dialogue, practically monopolizing speech in the central part. From her first appearance, leaning against a gas pump, book in hand, the girl is posed for proclamations. Like Jean-Pierre Léaud in La Chinoise and Week-End, she replays the French Revolution in theatrical rigging. And so in the book she's reading, a character of an actress shares her name. Florine, a particularly precocious heroine of Balzac's Comédie Humaine, debuts in Lost Illusions, in which she becomes renowned thanks to journalists who cover her first steps at the Panorama Dramatique, and in particular thanks to an article by Lucien de Rubempré, the protagonist of the story. Florine and Lucien find their names originating in Balzac, while in a shot from the first part, Ludo gives Alissa a copy of an André Gide novel, La Porte Etroite [The Narrow Doorway], which she opens immediately. A book in which the heroine is called—precisely—Alissa. All of which might explain, beyond the play of the titles, the easy assurance of the movie's four kids faced with the anxieties of the adults: while the latter struggle for self-expression, the former know their texts by heart. Florine, says Lousteau in Lost Illusions, "is the greatest novel reader in the world." And before she enters into her scene, Du Bruel, the author of the play, gives her some final advice:
我的小弗洛西讷，你对你的工作（roll）很熟悉了吧？你的记忆力没问题。扮演第 2 幕中的场景，要干脆，要尖锐。小心地说这句：我不爱你，就像我们决定的那样。
在贯穿全片的叠句中，弗洛西讷的父亲会问她这个问题：
好吧，弗洛（Flo），可你为什么不爱我们？
这也是居于《电影社会主义》核心的代际冲突的对象：那些想扮演一个角色的人和那些坚持进行一个对话的人的互不理解。
"Ma petite Florine, you know your roll well, eh? No issues with your memory. Play the scene in the second act with cutting, with sharpness. Say it carefully: I don't love you, just as we decided." In refrains throughout the movie, Florine's father will ask her the question: "Ok, Flo, but why don't you love us?" This is also the object of the generational conflict at the heart of Film Socialisme: the incomprehension between those who want to play a role and those who insist on a dialogue. [...]
秘密的信息
克里斯特曼的一系列假名是戈达尔的发明：克里斯特曼曾被称作阿尔诺（Arno）或阿尔芒（Armand）、霍嘎・欧雷・克拉斯（Roger Ole Class）、霍柏尔特・舒赫（Robert Schürer）、汉克・杨多尔（Henk Jandoel）、里夏尔德・肖莱（Richard Cholet）、马尔库斯（Markus），但从没有叫过高德贝尔格、莫伊斯・施穆克或莱欧波勒・克里维茨基。前两个名字一个是将一个犹太姓氏与一个德国名字联在一起，另一个则将一个德国姓氏与一个犹太名字联在一起。魏莱姆・施穆克（Wilhelm Schmucke）是巴尔扎克的《人间喜剧》（《邦斯舅舅》《夏娃的女儿》《交际花盛衰记》）中的一个人物。高德贝尔格，则如影片所示，意为一座“金山”，而莎拉・多德贝尔格（Sarah Doldberg）其实是“红色乐队”（译注：苏联的间谍组织）一位成员的名字，其领导人莱奥泼尔德・特雷伯（Leopold Trepper）自称奥托。此外，在克里维茨基的背后，隐藏着的是苏联间谍瓦尔特・格尔马诺维奇・克里维茨基（Walter Germanovich Krivitsky），在这里他的名被改成了莱奥泼尔德（特雷伯）的名。
Secret Information The series of pseudonyms for Christmann is Godard's invention: Christmann has been called Arno or Armand, Roger Ole Class, Robert Schürer, Henk Jandoel, Richard Cholet, Markus, but never Otto Goldberg, Moïse Schmucke, or Léopold Krivitsky. The first two names associate a Jewish last name with a German first, and a German last name with a Jewish first. Wilhelm Schmucke is a character from Balzac's Comédie humaine (Cousin Pons, A Daughter of Eve, Splendors and Miseries of Courtesans). Goldberg, as the movie indicates, means a "gold mountain," but Sarah Doldberg was the name of a member of the "Red Orchestra," whose leader, Leopold Trepper, called himself Otto. And behind Léopold Krivitsky is hidden the soviet spy Walter Germanovich Krivitsky, whose name has been changed to that of Leopold (Trepper's).
克里维茨基在他的回忆录《在斯大林的特务部门工作》（In Stalin's Secret Service）中回忆了莫斯科黄金在敖德萨的逃之夭夭。根据历史学家的说法，这个臭名昭著的“莫斯科黄金” 关系到苏联的要害 ，其事实如下：
从 1936 年 7 月到 1937 年 3 月，法国银行吞并了几乎 1/3 的西班牙储备，总共 194 吨，价值约 400 万法郎。这就留下了 2/3 的储备，更不用说卖给美国政府的 1225 吨。最大头的 457 吨，被运往莫斯科，而之后西班牙黄金又将被运往卡塔赫纳，并存放在阿尔加梅卡（Algameca）重重加固的房间里，那是一个无法进入的洞室。
Krivitsky recounts the escape of the Moscow gold in Odessa in his memoir, In Stalin's Secret Service. According to historians, the facts about this notorious "Moscow gold" at the heart of the USSR, are the following: In total, from July, 1936, to March, 1937, the French Bank absorbed almost a third of the Spanish reserves, 194 tons, of a value around 4 million Francs. (...) That leaves two thirds of the reserves, never mind the 1225 tons sold to the US government (...). The greater part, 457 tons, was sent to Moscow, after which the Spanish gold was to be transported to Cartagena and deposited in armored housing in Algameca, an inaccessible grotto.
因此，西班牙黄金被瓜分并送往了各个目的地：主要是法国和苏联，其余的（1/4？）去向无人知晓。显然，这种不确定性边际是有益于激发想象力的。1957 年，尚・杜维诺（Jean Duvignaud）出版了《共和国的黄金》（The Gold of the Republic），而在这部小说中，法国抵抗组织寻找着西班牙共和国政府的宝藏。
为什么西班牙黄金还在那么多隐藏的途径中流通，就像一个死人的血，却穿越了比利牛斯山脉，或者再次在海上航行？
而且从画外说出的第一句话开始，这种关于消失的图像就反复出现：
- 钱是公物。
- 那么，就像水一样。
- 正是如此。
从这里开始，种种联想就从影片这口活水中喷涌而出：黑海、黑金、黄金的诅咒（正如我们所说的海洋的诅咒）。
Thus, the Spanish gold was divvied up among various destinations: primarily France and the Soviet Union—and the rest (a fourth?) is harder to figure. Certainly, such a margin of uncertainty can stir the imagination. In 1957, Jean Duvignaud published The Gold of the Republic, a novel in which the French Resistance searches for the treasure of the Spanish Republican government. "[...]Why does the Spanish gold still circulate among so many obscure pathways like the blood of a dead man, traversing the Pyrenees or navigating—once again—the sea?" And from the first words spoken offscreen this image of vanishing recurs: " ‘Money is public property.' ‘Like the water, then.' ‘Exactly.' " And from here the associations that spout from the movie's wellspring: the Black Sea, black gold, curse of the gold (as we'd say the curse of the sea).
戈达尔将西班牙黄金一分为三，但这是以他自己的方式。卡门斯基亚说：
回敖德萨的时候，1/3——1/4——消失了。还有 1/3 在莫斯科。
戴勒马斯后补充说：
对第一个（1/3），我有我的怀疑，而至于最后一个（1/3），我们必须在共产党的档案中深挖。（深挖）威利・门岑贝尔格。
凯敏丝基亚少校对高德贝尔格说：
我不在乎你把西班牙黄金藏在哪里，我看重的是找到剩下的。
因此，财宝的一部分应是被高德贝尔格（克里斯特曼）所抢，而另一部分则被门岑贝尔格掠走了。正如戈达尔所说：
我想象德国人扣下了船，上面有部分黄金，正如片中的法国老警察所说的那样。可那个在档案馆里寻觅的俄罗斯女孩却告诉自己：逃走的 1/3，是共产国际拿走了，剩下的最后进了路易・道里维（Louis Dolivet）的口袋，没有别的办法来解释这笔财富了。
于是戈达尔把他的片子变成了一幅三联画，与“三面间谍”相呼应。这部片之所以令人费解，是因为历史资料本就如此，而且还消失在了表面的日常生活之下。 另一面，由于戈达尔炸开了他的那些故事，只是从一个化为粉末的整体中释放出一些碎片，所以事情之间的联系就更不清楚了。
Godard partitions the Spanish gold in three, but in his own way. Says Kamenskïa: "Returning to Odessa a third—a fourth—had disappeared. And another third in Moscow." Later Delmas adds: "As for the first [third], I've got my suspicions, and as for the last, we have to look deep in the communist archives. Willi Münzenberg." Major Kamenskïa says to Goldberg: "I don't care where you've hidden the Spanish gold, but I value finding the rest." Thus a part of the treasure would have been robbed by Goldberg (Christmann), another by Willi Münzenberg. As Godard has said, "I imagined that the Germans had seized the boat, which had a part of the gold, as the old French policeman says in the movie. But the Russian girl who's searching in the archives tells herself: the third that escaped, it's the Comintern that took it, and the rest ended up in the pockets of Louis Dolivet, there's no other way to explain the fortune." And Godard turns his movie into a triptych with an echo of a "triple agent." The movie is obscure because the historical accounts are too, and have disappeared under the mask of daily life. The connections, on the other hand, are much less clear when Godard dynamites his stories, and only releases fragments of a pulverized whole.
在这些事件的背后，戈达尔还有个故事后悔没纳入《电影史》，而这个故事在《电影社会主义》中也从未提及，但在1997 年首次得到了解释：
那就是道里维的故事。那是在塔蒂去世前五六个月，告诉我的......我去找他做一个采访。我告诉他我可以带他去一个咖啡馆。他回应说他可以付钱，并拿出一枚硬币。一枚西班牙银行的金币。“这是被斯大林抢走的西班牙财宝所剩下的。”他这样告诉我。这是道里维给他的，那是第四国际的一个人员。我知道这个，因为道里维是我在格雷电影公司（Gray Films）的第一个联系人，早在布豪贝尔格（Braunberger）之前。道里维是《阿卡丁先生》《玩乐时间》的制作人。此外，在《阿卡丁先生》中有个镜头可以看到道里维。塔蒂向我解释了这两件事的关系。道里维曾是门岑贝尔格的助手，而门岑贝尔格则击败了法国情报机构，并制作了许多影片和杂志。他把钱存在瑞士，而这钱在战后就被道里维继承了。用这笔钱，道里维制作了《阿卡丁先生》，这是一个对斯大林的故事的隐喻，发生于西班牙。之后，道里维一定是——又一次从门岑贝尔格那里——继承了来自西班牙银行、被斯大林扣押、藏起来的一点钱......这是我想拍的一个故事：《阿卡丁先生》和《玩乐时间》的真正关系是什么？是西班牙银行和西班牙共和派的黄金吗？......用这些钱，道里维制作了两个灾难性的项目，同时也是两部美丽的影片。这些就是关联，是通常不会去建立的关系。
西班牙银行的金币在片中主要以阿丽莎佩戴的一条项链的形式出现。
Behind these events, never named in Film Socialisme but explained for the first time in 1997, is a story Godard regretted not including in Histoire(s) du cinéma: It's the story of Louis Dolivet. Tati told me it, five or six months before he died.... I went to see him for an interview. I told him I'd take him out to a café. He responded that he could pay, and took out a coin. A gold coin of the Spanish Bank: "This is what remains of the Spanish treasure robbed by Stalin," he told me. It had been given him by Louis Dolivet, who was an agent of the Fourth International. I knew it because he'd been my first contact, before Braunberger, at the time of Gray Films. He was the one who produced Mr. Arkadin and Playtime. Besides which, there's a shot in Mr. Arkadin where we see Dolivet. Tati explained to me the relation between the two. He'd been an assistant to Willi Münzenberg, who had conquered the French intelligence and had produced movies, revues. He had money in Switzerland, which Dolivet inherited after the war. With that money, he produced Arkadin, which is a metaphor of the Stalin story and takes place in Spain. After, Dolivet must have inherited—once more from Münzenberg—a bit of money from the Spanish Bank that Stalin must have seized to stash away....It's a story I'd like to do: what is the real relation between Mr. Arkadin and Playtime? Is it the gold of the Spanish Bank and the Spanish republicans....With that money Dolivet produced two catastrophic projects, but two beautiful films. Those are the links, the relations that aren't normally established. The gold coins of the Spanish Bank appear in the movie mainly in the form of a necklace worn by Alissa.
关于传奇
在《电影手册》1967 年刊登的关于《地中海》的一篇文章中，戈达尔对这部片子大加赞赏，毫不犹豫地将年轻的波莱比作俄耳甫斯（Orpheus）。这个有趣的赞美，不是随意为之的：抓住了戈达尔注意力的，是影片如何把一次旅行转变为了一次神话般的横渡，以纪录片的图像构建了一个传奇的地中海。 由此，《电影社会主义》也是各个传奇的一个集合。比如西班牙黄金的传奇，被认为是一个诅咒，因为它毁掉了印第安人以及后来的西班牙人，接着被纳粹征用，其中的 2/3 还被苏联偷走了。这还不算阿丽莎的项链，无疑是来自她祖父的宝藏的那些金块所制成的，在片尾以此判了她死刑。 在《名模迷踪》（Face of Terror）——《电影社会主义》片头引用的这部不知名的动作片中，是一个年轻美国人在巴塞罗那一个奇怪的恐怖主义案件中的失踪，导致她的哥哥接管了她的任务。 帕科・伊巴涅（Paco Ibañez）演唱的何塞・奥古斯丁・郭伊蒂索洛（José Agustín Goytisolo）的诗《胡莉娅的话》（Palabras para Julia），我们已经在《电影史》第 2B 集的开头听到，而在《社会主义电影》中，这首诗又两度出现。它涉及到另一起失踪事件，即诗人的母亲胡莉娅，1938 年在巴塞罗那的一次爆炸中丧生。这是加泰罗尼亚首都的诅咒，而威尔斯的影片中的阿卡丁先生将成为其又一个受害者。 巴塞罗那是一个神秘现象的场所，而这个现象同时标志着这次海上航游的起点和完成。 在影片奇怪的、多棱镜式的安排中，也就是在纪德的“窄门”中，一切都始于并终于西班牙内战，仿佛有可能提前读解了 20 世纪的命运。
Of Legends In an article on Méditerranée in Cahiers du cinéma in 1967, Godard acknowledges his admiration for the film, and doesn't hesitate to compare the young Pollet to Orpheus. However curious, the compliment isn't haphazard: what captures JLG's attention is the way in which the film transforms a tourist trip into a mythological crossing, conceiving a legendary Mediterranean out of documentary images. In its way, Film Socialisme is also a collection of legends. Of the Spanish gold, for example, considered a curse since it ruined the Indians and later the Spanish, that served the Nazis, and that was, two-thirds of it, stolen by the Soviets. That's not even counting Alissa's necklace, made from gold pieces undoubtedly taken from the treasure of her grandfather, that condemns her to death at the end of the movie. In Face of Terror, an obscure action film cited in the credits of Film Socialisme, it's the disappearance in Barcelona of a young American in a strange terrorism case, that leads her brother to take over her mission. "Palabras para Julia," the poem by José Agustín Goytisolo sung by Paco Ibañez, already heard at the start of chapter 2B of Histoire(s), comes back twice in Film Socialisme. It concerns another disappearance, that of Julia, the poet's mother, killed in a bombing in Barcelona in 1938. It's the curse of the Catalan capital of which Mr. Arkadin, in the Welles film, will be another victim. Barcelona is the place of a mysterious phenomenon that marks both the origin and completion of the cruise. In the strange, prismatic arrangement of the movie, which is also Gide's "narrow doorway," everything starts and ends with the Spanish Civil War, as if it were possible to read, in advance, the fate of the 20th century.
在《电影史》的第 3B 集中，戈达尔向昂西・朗格瓦的致敬令人动容：
我们没有一个过去，而这个来自梅西讷大街（ 注：avenue de Messine，巴黎的一条显赫的街）的人给了我们一份礼物，那就是在印度支那、阿尔及利亚的一个过去所蜕变成的现在。当他第一次放映（马尔罗的）《希望》（Espoir）的时候，使我们起步的不是西班牙战争，而是对种种隐喻的联想——也就是博爱（fraternity）。
一份从影片的其他两个原则所延伸出来的博爱。 首先，所有图像生而平等，不管是来自手机还是高清摄像机，也不管是来自直接发行 DVD（direct-to-DVD）的片源还是《战舰波将金号》发黄的图像。
其次，去比较无可比拟的东西的自由，这是弗洛西讷在第 2 部分的心愿之一。5（戈达尔在采访中说是本雅明的一句话，在第 1 部分中借凯敏丝基亚少校之口说出）
自由、平等、博爱：这就是造就一个隐喻的公式了。
- Both the red and black shirts also appear—unworn—in a single shot of Allemagne 90 Neuf Zéro
- Obviously an inadequate translation. The original is "Dialogue, foutre!," ascribed to Stendhal, "November 26, 1834." "Foutre" is "fuck," but a "fuck" that has maintained its vulgarity through the ages as well as the connotation of sex: a coupling, an exchange and dialogue—of sorts—between two things.
- With Florine's proclamation in mind—"replace 'to be' with 'to have'"—this is an impossible line to translate, and alone maybe good justification for Godard's Navajo subtitles. The French is basic: "Avoir vingt ans. Avoir raison. Garder de l'espoir. Avoir raison quand votre gouvernement a tort," and would translate by the textbooks as "To be 20. To be right. To maintain hope. To be right when the government is wrong." But when the relativities of "to have" are replaced by the essentialisms of "to be" the entire meaning changes to something more self-righteous than Florine's taking the side of "right" beyond her, and misses the simplicity of "avoir raison": to have reason.
- An illustrious street in Paris.
- A quote that Godard has attributed to Benjamin in interviews and is spoken by Major Kamenskïa in the first part.
在实验的道路上越走越远.俺没评分的能力.
我们操蛋的马克思老师叫我们写这部电影的影评！！！
no comment
B / 很难理清到底是什么吸引我看下去的，也没办法找出某种肯定性的语汇进行归纳，而只能以否定进行排除。拒绝“叙述麻醉剂”，也拒绝全然崩溃的碎片；拒绝视听的整一，也拒绝影像的纯净与声音的连续；拒绝封闭的阐释空间，也拒绝纯粹内外转译符号分层的表意。一种不在“梦境”之中的梦呓，或是不“撕裂”的断裂。这莫非便是索亚所说的第三空间？
这是一部值得咂摸三遍的电影。大师之作，依然无与伦比。
第63届戛纳电影节一种关注单元入围 疏离感 突出前景 多重性 开放性
NO COMMENT里面还有小白……
那，听一个既不是艺术家又不是政客的人谈艺术和政治，是不是幼稚可笑且不可理喻?
no comment
大哥，你是神，不過作為作業的參考確實不錯。
小白，你上电影了
钱如海水的比喻诗意又讽刺，那么，非洲即是没有希望的荒漠，欧洲则沉沦在其中，随着被提纯的夜店噪音所舞动，三段式的影片集结了可能是新世纪戈达尔最强大的创作力，数字影像从未如此美丽，却同时将一切荒谬所揭露，历史则以模糊化的面目令人困惑，影像背后的真实世界，“不予置评”。
也只有林奇老师的内陆帝国可以打败你了
http://cinema-scope.com/wordpress/web-archive-2/issue-43/spotlight-film-socialisme-jean-luc-godard-switzerlandfrance/ http://www.davidbordwell.net/blog/2012/02/06/the-ship-of-statements-sails-on/
听一个玩艺术的谈政治，就好比听一个政客谈艺术，幼稚可笑且不可理喻。
No Comment 一早知戈达尔实验，但是原来连字幕翻译都可以玩实验？
浮躁的摄影，至于剧情-------什么，你看戈达尔的电影还要看剧情？你傻逼么....
这个时代终于迎来了这部电影，伟大得我看完真的不知所措
无法作评。自己还不具备理解戈达尔此类片子的能力。他已经逐渐转化为社会学家了。DVD花絮里的访谈能让我稍稍对影片有所认识，“社会主义用一个微笑打发了世界。”
带中文字幕又看了一遍，还是无法完全理解本片，打四星出于尊重