{"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":90,"pdf_page":110,"physical_index":110,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"208c96f4a2ac0c56a0ee6b8d1032fd36023ed5fd6ee7166b7dccdd5d5927fd93"},"chapter":"什么是批判","content":"达内兄弟的个人电影所展示的东西，与其说是跌出社会的古怪或壮观的个案，不如说是可怕的普通个体以身体-实践对抗社会条件下的排他性。对其电影的概览使这一点更加清晰。不仅在环境方面总是在列日而且在描写和被描写的总是同样匆忙的节奏方面，这些故事片相互融合。与地点限制在比利时的拍摄地瑟兰一样重要的是时间。因为通过这种方式，电影可以保护自己不受糟糕的人类学论调和宿命论建议的影响。这并不是说工作是人类的一部分，而是说在中欧社会中，在过去十五年左右的时间里，几乎整个生活都取决于融人劳动力市场，而这个市场使许多人丧失了能力。这也回答了为什么以及在何种意义上达内兄弟的电影是意识形态批判，也就是说，它们不仅仅是对那些偏离了所谓的正确道路或仅仅是运气不佳的个体的报道。\n\n90\n\n什么是批判","previous_page":89,"next_page":91}