资本论

• 豆瓣评分：7.7
• 片长：570min（完整） / 83min（剧场）
• 导演：亚历山大·克鲁格
• 年代：2008
• 地区：德国
• 类型：纪录片
• 语言：德语
• 编剧：亚历山大·克鲁格
• 影片别名：News from Ideological Antiquity
• 更新时间：2018-02-19
• 上映：2008
• 主演：Oksana Bulgakova / Dietmar Dath / Hans Magnus Enzensberger / Durs Grünbein / Hannelore Hoger / Sophie Alexandra Kluge / Oskar Negt / 苏菲·罗艺斯 / 赫尔基·施楚奈德 / 彼得·斯洛特戴克 / Andreas Tobias

主演：Oksana Bulgakova / Dietmar Dath / Hans Magnus Enzensberger / Durs Grünbein / Hannelore Hoger / Sophie Alexandra Kluge / Oskar Negt / 苏菲·罗艺斯 / 赫尔基·施楚奈德 / 彼得·斯洛特戴克 / Andreas Tobias导演：亚历山大·克鲁格语言：德语 地区: 德国 编剧：亚历山大·克鲁格类型：纪录片上映时间：2008 别名：News from Ideological Antiquity用户标签：纪录片,德国,Alexander_Kluge,德国电影,AlexanderKluge,Documentary,2008,紀錄片片长：570min（完整） / 83min（剧场）imdb编号：tt1423964What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)《资本论电影网友评论》83min版本,影像化理論展示,戈達爾式的影像風格,以文字和影像的衝突,畫外音與對白及獨白的衝突,大眾音樂與古典音樂的衝突還原愛森斯坦的野心,字體的情緒表現,用被消費的文化偶像去閱讀解剖消費的馬克思原文,也許因為看的並不是完整版,覺得在某些方面並非深入,但總的來說十分精彩.记得是在大学里的一个教室里看的，一个中德的系列交流活动中的一场。那个活动一共参加了两场，一个是汪晖和德国学者的对谈，一个是《资本论》这部电影。时间太长，教室里严重缺氧，大家都昏昏欲睡，实验电影变得更加“玄幻”9小时+分好几天阅毕。开启阅读式电影新模式。原来爱森斯坦和乔大神见过面欸，前者原来还打算改编尤利西斯欸。英字好像是机翻的有点怪。不知觉会觉得应该由戈达尔接手，手法非常疙瘩，但若成肯定会更艰涩der。西装革履，钢琴歌剧，进行曲中聊罢工，演说集下谈阶级，金钱人格化，价值虚幻化，法学博士的艺术家，古典的后现代，"煤油"灯下，扯着资本论。。。呵呵呵呵哈(小资们读／看资本论，会精神分裂的么？)借不同阶层的嘴读出资本论，极具讽刺意义。世界失序已久。Duetohumanweakness.427SéanceprésentéeparAlexanderKluge聒噪估计是学识不够吧，看到第二部就没再看下去了。明白其手法了，但是并没有特别的感觉。不同字体和音乐以及它们具有的生命节奏去表情和表意还是挺不错的。虽然没怎么看懂，片子对《资本论》的解析也有它的局限性，但是片子的艺术效果相当好，处处可见的创意，不管是在排版方面还是背景音乐方面。3月马上在北京和杭州组织多场放映。之前只溜达过德文版。现在手里有中英文两个文字版，本周即可见成品。无论如何，是不可以错过的力作借不同阶层的嘴读出资本论，极具讽刺意义。世界失序已久。Due to human weakness.0427 Séance présentée par Alexander Kluge 聒噪收获就是新鲜感题材▲干嘛非要懂干嘛不装懂还是不懂hahah配乐不错=v=快进着浏览9个半小时的完整版。不懂德语，没有英文字幕。姑且收藏。没能坚持看完。为此意气用事非要跳过某老师的报告我后悔不迭！