{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","title":"什么是批判","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787303287741","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","uuid":"dfe67541-4039-4f88-87ce-dbbadb056cb2","title":"什么是批判","normalized_title":"什么是批判","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787303287741","isbns":["9787303287741","0120214113"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":490,"navigation_url":"https://workshop.closeclaw.top/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2","title_url":"https://workshop.closeclaw.top/ai/title/%E4%BB%80%E4%B9%88%E6%98%AF%E6%89%B9%E5%88%A4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/dfe67541-4039-4f88-87ce-dbbadb056cb2","page_url":"https://workshop.closeclaw.top/api/ai/books/dfe67541-4039-4f88-87ce-dbbadb056cb2/page","search_url":"https://workshop.closeclaw.top/api/ai/books/dfe67541-4039-4f88-87ce-dbbadb056cb2/search"},"page":{"printed_page":87,"pdf_page":107,"physical_index":107,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7d45c2a1d0f05c5945f25306770b3538991ee4d7d2cda19035ec4f0f1fb39ff9"},"chapter":"什么是批判","content":"电影《罗塞塔》(1999年)讲述了乍一看是线性的—一个年轻的失业妇女罗塞塔和她顽强地寻找工作和安稳的“平均生活”的故事。她在影片开始时就失去了一份工作，然后不断寻找工作，并在她与母亲居住的拖车停车场之外寻找正常的生活。为了实现这一目标，她愿意背叛唯一对她感兴趣的人华夫饼店的推销员，以便短暂地得到他的工作。罗塞塔以雇佣劳动的形式对乌托邦的(失败)追求是这部影片中唯一的线性事物。在其他方面，她的生活就是一连串的重复，是在极度喧嚣的模式下永远的原地踏步。从形式上看这通过以下方式得以实现：一台不安分的手持摄像机挂在忙碌的女人的脖子上。因此，影片否定了向前甚至向前进的更大视角，同时也破坏了与主角的虚假亲近感。只存在着一些同样的问题，即她是否能在这里或那里工作，它们的答案几乎总是否定的，每天重复着从城郊的拖车停车场到城市的旅程，同样的手部动作和生存所迫的动作，每件小事都要花费太多时间，至少对于观众和他们的电影观看或生活习惯来说是这样。这些行动只是被持续拍摄，直到它们各自结束，以这样的方式，最具叙事特征的事纪(Allernarrativste)变成了一个中断性的干扰因素。\n\n(意识形态)批判如何被规训\n\n87","previous_page":86,"next_page":88}