撓黑襪腳心癢和腋窩癢：HD

《撓黑襪腳心癢和腋窩癢》上映于1984  年，是一部美國(guó)制片出品，由周融 林俊良 駱應(yīng)鈞　  }等主演的科幻片，對(duì)白語(yǔ)言為英語(yǔ)。

《撓黑襪腳心癢和腋窩癢》劇情簡(jiǎn)介：Voice 1 (male "professional announcer" type): This n eighborhood (1) was made f or the w retched d ignity of  the petty bourg eoisie, for re spectable occupations  and intellec tual tou rism. The sedentary pop ulation of the u pper floors wa s sheltere d from the inf luences of the stre et. This nei ghborhoo d has remai ned the same . It was t he strange sett ing of our sto ry, where a systematic q uestioning of all the diversions and work s of a society , a tota l critique of  its idea of hap piness,  was expressed  in acts. These  people als o scorned & amp;quot ;subjectiv e profund ity". They wer e interested i n nothing but  an adequate and concr ete expre ssion o f themselves. V oice 2 (D ebord, monoto ne): Hum an bein gs are not f ully conscio us of their real life - us ually g roping in the dark; overwhelmed  by the con sequence s of their ac ts; at e very mo ment gr oups and indi viduals find th emselve s confronte d with results they ha ve not wished. Voice 1: T hey said that obli vion was their ruling p assion. They wante d to reinvent e verything each  day; to  become the ma sters and poss essors of  their own live s. Just as one does not judge  a man accordi ng to the conce ption he has of himse lf, one  cannot ju dge such p eriods of tran sition accord ing to the ir own  consciousness;  on the cont rary, one mu st expla in the  consciousnes s through t he contradi ctions  of materia l life, throug h the conflict between soc ial con ditions and the for ces of soci al produc tion. The p rogress ach ieved in th e dominat ion of nature was not yet ma tched b y a corresp onding liberati on of ev eryday life.  Youth p assed away among the v arious contro ls of resi gnation. Our camera has c aptured for you a  few aspects of a provisio nal mic rosociet y. The k nowledge of empirical  facts r emains abs tract and super ficial  as long as i t is no t concretized by its i ntegration into th e whole &q uot;” wh ich alone perm its the sup ersession of partial  and abst ract problems  so as to arriv e at their c oncrete essenc e, and impl icitly at their meani ng. This  group was on the m argins of the e conomy.  It tende d toward a role of pu re consumption , and first o f all the f ree cons umption of  its time. It  thus found itse lf directly en gaged in qualitative  variati ons of ever yday life but deprived of an y means to inte rvene in them.  The gro up ranged ov er a ver y small area. T he same times brought  them back to  the same places.  No one  went to be d early.  Discussion on the mean ing of all t his con tinued... Voice 2: &amp ;quot;Our  life is a jo urney &quot ;” In th e winter  and the nig ht. &quot ;” We see k our passa ge...& quot;? Voic e 1: The abandoned literat ure nev ertheless exerted a delaying a ction on new affecti ve formulati ons. Voice 2:  There was th e fatigue and the col d of the mor ning in this m uch-trave rsed labyr inth, like  an enigma t hat we had to  resolve. It was a looking- glass reality  through whi ch we had to di scover the po tential r ichness o f reali ty. On  the bank of t he river eve ning began once again; and ca resses; and t he importanc e of a wor ld witho ut import ance. Jus t as the eyes have a  blurred vision of ma ny things and  can see only one clearly, so the  will can strive onl y incomple tely to ward div erse objects an d can c omplete ly love only on e at a time. Voice 3 (you ng girl): No o ne counted o n the future.  It would never be possible to be toget her later,  or anywhere  else. There wo uld never b e a greate r freedom . Voice 1:  The refusal of time and of growi ng old a utomatically  limited encou nters in  this narrow , contingent zone, wh ere what w as lacking was  felt as irre parable . The extr eme preca riousness  of the means of getting by without wor king was at t he root of t his impatience which made ex cesses  necessary and breaks de finitive. Vo ice 2: O ne never rea lly contests an organizatio n of existence without con testing  all of that or ganization &#3 9;s forms  of language. Vo ice 1: W hen freed om is practice d in a closed circle, it fades into a dream , becom es a mere re presentation of itself. Th e ambianc e of pl ay is by na ture unst able. At any moment &a mp;quot;ord inary life "? can prevail once  again. The geo graphica l limita tion of play is even  more strik ing than its te mporal limit ation. Any game ta kes place w ithin t he contours o f its spatial domain. Aroun d the ne ighborhood , around i ts fleeting  and threat ened imm obility, s tretched a half-known  city where p eople met  only by ch ance, losing t heir way forever.  The girls w ho found thei r way there,  because they were legally u nder the contro l of their fa milies unti l the age of ei ghteen, wer e often re captured by t he defenders of that d etestable ins titution. They were  generally c onfined  under the g uard of  those crea tures who amon g all the bad  products of a bad s ociety are the  most ugly and  repugnant: nu ns. Wha t usually make s documentari es so easy to understan d is the arb itrary limita tion of their subject  matter. T hey describe t he atomizatio n of social f unctions and t he isolation o f their product s. One can , in cont rast, envisa ge the entire complex ity of a mom ent whi ch is not  resolved int o a work, a m oment whose mov ement ind issolubly contains fact s and v alues and w hose mea ning does not yet appe ar. The su bject matte r of the docume ntary would then be thi s confused to tality. Voice 2 : The er a had arrived  at a level of  knowledg e and technical means that mad e possib le, an d increasingl y necess ary, a di rect constru ction of all aspects of a li berated af fective and p ractical  existence.  The app earance of these sup erior means of  action, st ill unused b ecause of the dela ys in the p roject of liq uidating the c ommodity econom y, had already co ndemned ae sthetic a ctivity, whose ambitio ns and pow ers were both  outdated. The d ecay of art and of all  the values of  former mor es had formed  our sociolo gical backgr ound. Th e rulin g class&amp ;#39;s mo nopoly over th e instrument s we needed to control in  order to realiz e the colle ctive art  of our time ha d exclude d us from a cult ural prod uction o fficially de voted to illu strating and repeating the past. A n art film on this generati on can only  be a film on  its absence of  real creatio ns. Everyo ne unthin kingly follo wed the  paths lear ned once and f or all, to their work and their h ome, to the ir predicta ble fut ure. For them dut y had alre ady become a  habit, and  habit a duty. T hey did not see the deficienc y of their ci ty. They though t the defi ciency of their life wa s natural.  We wanted to  break out  of this conditi oning, in ques t of another u se of t he urban la ndscape , in qu est of new p assions . The atmospher e of a few  places gave us intimati ons of the fu ture powers  of an a rchitectu re it w ould be necess ary to creat e to be the s upport and fram ework for less medioc re games.  We could expect nothing of anything we had not ourse lves altere d. The urba n environme nt proclaimed the orders  and taste s of th e ruling socie ty just as vio lently as the  newspapers. It is m an who mak es the unit y of the wo rld, but man h as extended himself every where. Pe ople ca n see nothin g around them  that is not their ow n image; every thing speaks  to them of them selves. The ir very lan dscape  is aliv e. There wer e obstacles e verywhe re. The re was a co hesion in the  obstacl es of all typ es. They ma intained the co herent reign of poverty. E verything bei ng connected,  it was ne cessary to cha nge every thing by a unit ary struggle, or nothi ng. It was ne cessary t o link u p with the masses, but  we were surro unded by sleep . Voice 3: The dict atorship  of the prole tariat i s a desperate  struggle, bl oody and blood less, viol ent and peacefu l, military a nd economic , education al and  administrative, against th e forces and traditions of  the old w orld. Voice 1: In this coun try it is o nce again th e men of or der who  have re belled. T hey have re inforced their po wer. They hav e been abl e to aggrava te the grot esqueness of  the ruling conditions ac cording to the ir will.  They have emb ellished th eir system  with the fune real ceremo nies of t he past. Voic e 2: Years, l ike a singl e instant prol onged to this point, come to an  end. Voice 1:  What was  directly live d reappea rs frozen  in the distance , fit into t he tastes  and illusions  of an era, ca rried away with it. Voice 2: The app earance of events that we have not ma de, that othe rs have made  against u s, now ob liges us  to be aw are of the pa ssage of tim e, its resul ts, th e transformati on of our own desir es into even ts. What differ entiates the  past from t he present  is precisely its out-of-rea ch obje ctivity; ther e is no mo re should-b e; being is so con sumed that it has ce ased to  exist.  The details are already lost i n the d ust of time. Who was afraid of life, af raid of the n ight, afraid o f being taken,  afraid of  being ke pt? Voice 3: W hat sho uld be abol ished con tinues,  and we contin ue to wear a way with  it. We are  engulfed.  We are separ ated. The year s pass and we  haven&a mp;#39;t ch anged any thing. Voi ce 2: O nce agai n morning i n the same street s. Once again the fatigue of so many s imilarl y passe d night s. It is a walk that ha s lasted a  long time.  Voice 1: Really hard to dr ink more. Voice 2: Of course one  might make a  film of it.  But even if such a fi lm succeed s in being  as fundamentall y disconnec ted and unsati sfying a s the r eality it dea ls with,  it will n ever be mor e than a re -creation &a mp;quot;” p oor and fals e like t his botched travelin g shot. Voi ce 3: There ar e now peopl e who prid e themselves on being authors of  films, as oth ers were auth ors of nove ls. They are ev en more back ward than the n ovelists b ecause th ey are unaw are of t he decomp osition  and exhau stion of  individual expr ession i n our t ime, ig norant of the  end of  the arts  of passi vity. They a re praised for  their s incerity sin ce they dramati ze, with more p ersonal  depth,  the conventions of which t heir life consi sts. There is talk of the l iberati on of the cinema. But what d oes it mat ter to us if o ne more art i s liberate d through  which Tom,  Dick or Harry can joyously express the ir slavish  sentiments? The only interest ing ven ture is the li beration of every day life , not o nly in the per spectives o f history but f or us an d right away. T his entails the withe ring away of a lienated forms of c ommunication. The cine ma, too, has to be de stroyed . Voice 2: In the fin al analysis,  stars are crea ted by  the need we have for t hem, a nd not by th eir talent or l ack of tal ent or ev en by the film  industry or adv ertising. Mise rable need , disma l, anonymou s life th at would like to expand  itself to  the dime nsions  of cinema lif e. The im aginary life on the screen is the prod uct of thi s real need . The star is  the pro jection of this need. Th e image s of the a dvertis ements duri ng the in termissio ns are more suited than any oth ers for evoki ng an intermi ssion of life. To really  describe this e ra it would n o doubt be  necessary t o show m any other  things. B ut what would  be the point? B etter to gra sp the totalit y of what has been done and wh at remains t o be done t han to ad d more ruins to the old wor ld of th e spectacle  and of  memories. 1. T his film, whic h evokes the  lettrist expe riences at the origin o f the situ ationist moveme nt, ope ns with shots  of the Paris  district f requented  by the lettr ists in t he early 1950s .　　Voice  1 (male &amp ;amp;quot;pr ofession al anno uncer&q uot; type ): This neighborho od(1) w as made for