托马斯-斯图伯的作品《In den Gängen》(2018)中的乌托邦空间及其日常痕迹

Margaret McCarthy
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摘要

本文探讨了托马斯-斯图伯(Thomas Stuber)2018 年的电影《In den Gängen》中的乌托邦元素。尽管新自由主义的力量制约着前东德的一群超市货架堆放工,但影片中的人物在异化的工作面前表现出了亲切的纽带。令人震惊的是,他们与机器的接触也传达出一种他者的指导性和即兴的欢愉,或者说是一种能量,使他们能够在转瞬即逝的瞬间建立起联系。影片在预设社会主义乌托邦的同时,也描绘了当代新自由主义所面临的一系列挑战,包括共同化的实践、非规范的关系形式以及人机互动,这些都昭示着一种后人道主义的自我身份。同时,三位主角的个人情况和历史必然会影响他们从这些元素中获益的能力。年龄和性别在他们的个人命运中都扮演着至关重要的角色,而且并非所有人都能在这个充满关爱、以他人为导向的社区中茁壮成长。归根结底,《In den Gängen》提出了一种可能性,即平凡的存在可能昭示着卓越的未来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Utopian Spaces and Their Everyday Traces in Thomas Stuber’s In den Gängen (2018)
This article examines utopian elements in Thomas Stuber’s 2018 film In den Gängen. Despite the neoliberal forces that constrain a group of supermarket shelf stackers in the former East Germany, the film’s characters exhibit congenial bonds in the face of alienated work. Strikingly, their encounters with machines also convey an other-directedness and improvised conviviality, or energy that enables them to devise bonds in fleeting moments. As much as the film presumes a foreclosed-on socialist utopia, it also depicts a range of contemporary challenges to neoliberalism, including practices of commoning, non-normative forms of relationality, and human-machine interactions that gesture towards a posthumanist selfhood. At the same time, the three main characters’ personal circumstances and histories necessarily impact their ability to benefit from these elements. Both age and gender play crucial roles in their individual fates, and not all of them thrive within their caring, other-directed community. Ultimately, In den Gängen suggests the possibility of mundane existences gesturing towards superlative futures.
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