Abstract

In his book 24/7, Jonathan Crary describes our contemporary temporality, an always-on existence that detaches itself from any possible political action in the form of a long-term project. A clear example of this temporality, in which a tremendous amount of labor and resources are expended to produce the consensus that no political change is possible or necessary, is the 24-hour news cycle. In Chats perchés (2004), his film contrasting the contemporary French news media with scenes from Parisian protests in the wake of the United States’ wars in Iraq and Afghanistan and the presidential elections in France, Chris Marker takes up Guy Debord’s practice of détournement, reversing the production-consumption flow of images and creating a new situation for thought and action. Marker’s use of voice-over and montage to repurpose the news media and documentary images of protest serves as a means of breaking out of the 24/7 temporality of the spectacle, allowing the viewer to tie the present to previous instances of revolutionary agency and to imagine the possibility of future political change.

摘要

乔纳森·克拉里（Jonathan Crary）在他的著作《24/7》中描述了我们当代的时间性，一种永远在线的存在，以长期项目的形式脱离任何可能的政治行动。这种时间性的一个明显例子是 24 小时新闻周期，其中花费了大量的劳动力和资源来达成政治变革是不可能或必要的共识。在《Chats perchés》（2004）中，克里斯·马克将当代法国新闻媒体与美国伊拉克战争和阿富汗战争以及法国总统选举后巴黎抗议的场景进行了对比，克里斯·马克沿用了盖伊·德波的离场做法。，扭转图像的生产消费流程，开创思想和行动的新局面。马克利用画外音和蒙太奇来重新利用新闻媒体和抗议的纪实图像，以此作为突破奇观的 24/7 时间性的一种手段，让观众将现在与以前的革命机构实例联系起来，并想象一下未来政治变革的可能性。