Name: 不動的時間旅行電影 (The Time Travel Movie That Doesn't Move)
Uploaded: 2025-05-23T06:31:45.000Z
Duration: 6 min 41 s

This is a shot from Chris Marker's classic time-travel short film of 1962, La Jetée.

這是克里斯-馬克（Chris Marker）1962 年的經典時空旅行短片《La Jetée》中的一個鏡頭。

It's not a screenshot, mind you. It's a full shot, a still image, a photograph, one of 422 photos that make up the entirety of this 28-minute movie, or photo novel, as Marker called it.

請注意，這不是截圖。它是一個完整的鏡頭，一張靜止圖像，一張照片，是構成這部 28 分鐘電影的 422 張照片中的一張，馬克爾稱之為 "照片小說"。

La Jetée tells the story of a man being held captive underneath a Paris destroyed by World War III, where he becomes a guinea pig in time-travel experiments.

La Jetée 講述了一名男子被囚禁在被第三次世界大戰摧毀的巴黎地下，成為時空旅行實驗的小白鼠。

It turns out the protagonist can time-travel successfully because of a really strong memory from his childhood, where he saw a mysterious woman on the pier at the Orly airport and a man being shot dead.

原來，主角之所以能成功穿越時空，是因為他有一段非常深刻的童年記憶，在那段記憶中，他在奧利機場的碼頭上看到了一個神祕的女人，還有一個被槍殺的男人。

The scientist's goal is to send the protagonist to the future, but they practice by sending him to the past, where he develops a relationship with that woman from the pier.

科學家的目標是把主角送到未來，但他們的做法是把他送到過去，在那裡他與碼頭上的那個女人發生了關係。

After multiple trips and trials, the scientists learn what they need to to send him to the far future, where he meets advanced humans who give him the tools to restore the Earth of his own time.

經過多次旅行和試驗，科學家們瞭解到他們需要把他送到遙遠的未來，在那裡他遇到了先進的人類，他們給了他恢復他自己時代地球的工具。

Unfortunately, now that he's no longer useful, the scientists plot to kill the man upon his return.

不幸的是，既然他已經沒用了，科學家們便密謀在他回來後將其殺死。

The advanced humans, very nicely, offer to bring him back to the future, but he wants to be sent to the past instead, to that moment on the pier.

先進的人類非常友好地提出帶他回到未來，但他希望被送到過去，回到碼頭上的那一刻。

The scientists chase him in time, and, well, it turns out that the man who he remembers being shot dead on La Jetée was himself.

科學家們及時追趕他，結果發現，他記憶中在 La Jetée 上被槍殺的人就是他自己。

If this story sounds familiar, it's because it was an inspiration for Terry Gilliam's Twelve Monkeys, and its DNA can be felt in several famous time-travel and science fiction stories that came after.

如果這個故事聽起來很耳熟，那是因為它是特瑞-吉列姆（Terry Gilliam）的《十二猴子》的靈感來源，在之後的幾部著名的時空旅行和科幻小說中也能感受到它的基因。

Of course, what separates La Jetée from the others is Marker's choice to use still images.

當然，《捷報》與其他影片的不同之處在於馬克爾選擇使用靜態影像。

Actually, that's wrong, because, well, when you think about it, Terry Gilliam is using still images too.

事實上，這是不對的，因為仔細想想，特瑞-吉列姆也在使用靜態影像。

It's just that he's using 24 still images every second, while Marker uses, on average, one image every four seconds.

只是他每秒使用 24 幅靜態影像，而 Marker 平均每四秒使用一幅影像。

The rapid rate of images in Twelve Monkeys and pretty much every other film creates the illusion of movement in our minds.

十二猴子》以及其他幾乎所有影片中的快速影像在我們的腦海中產生了運動的錯覺。

The connection we make between frames is involuntary. Our brains automatically stitch them together.

我們在幀與幀之間建立的聯繫是無意識的。我們的大腦會自動將它們拼接在一起。

Marker slows down that rate, really slows it down, so that the connection ceases to be automatic.

標記會減慢這種速度，真的會減慢，這樣連接就不再是自動的了。

The voiceover guides us, but we have to do the stitching consciously.

畫外音會引導我們，但我們必須有意識地進行縫合。

We're also forced to sit with every frame, and what do we notice about those frames?

我們還被迫坐在每一幀畫面前，我們注意到了這些畫面的什麼？

We notice that they are dead. All movement is gone, and we're left with these lifeless fragments of time, an appropriate thing in a world obliterated by war.

我們注意到他們已經死去。所有的動作都消失了，留給我們的是這些沒有生命的時間碎片，這在一個被戰爭湮沒的世界裡是很合適的。

Marker shows us that the movement of moving pictures, even though it resembles life, is illusory.

馬克向我們展示了動態影像的運動，儘管它與生活相似，但卻是虛幻的。

It's really just another form of memory, and memory is always fragmentary and lifeless, reanimated only by the meaning we impose on it from the present, like the narrator of La Jetée, who organizes these photos into a coherent story.

這其實只是另一種形式的記憶，而記憶總是零碎的、沒有生命力的，只有通過我們從當下強加給它的意義才會重新煥發生機，就像《熱氣球》的敘述者一樣，他將這些照片組織成一個連貫的故事。

But it goes deeper than that, because this is a stable time loop story, suggesting that what happens was always going to happen.

但它的意義遠不止於此，因為這是一個穩定的時間循環故事，暗示著所發生的事情總是會發生的。

The protagonist sees his own death as a child, and by virtue of him seeing it, this future is inescapable.

主角在孩提時代就看到了自己的死亡，由於他看到了死亡，這個未來也就不可避免。

These kinds of stories suggest that all time is fixed, that every moment exists simultaneously, like all the moments of a movie exist on a film reel.

這類故事暗示，所有的時間都是固定的，每個時刻都同時存在，就像電影的所有時刻都存在於電影膠片上一樣。

The future, in some greater, higher sense, is already the past, already a memory.

未來，在某種更大、更高的意義上，已經是過去，已經是記憶。

The main character of La Jetée is trapped in time.

In this deterministic universe, choice is as illusory as the movement of film.

在這個決定論的世界裡，選擇就像膠片的運動一樣虛幻。

The cruel irony is that time travel is usually imagined as a form of power, the power to escape linear time, to change history.

殘酷的諷刺是，時間旅行通常被想象為一種力量，一種逃離線性時間、改變歷史的力量。

But time travelers in stable time loop stories discover again and again the exact opposite.

但在穩定的時間循環故事中，時間旅行者卻一次又一次地發現了完全相反的情況。

They are more powerless than they ever imagined.

Looking for possibility, they instead find fate.

他們在尋找可能性，卻發現了命運。

For this reason, Marker's film is a humbling one.

正因如此，馬克爾的這部影片令人謙卑。

It suggests that our lives are, in some profound sense, static, frozen like the long-dead animals in the museum that the protagonist and the woman visit on their final date.

它暗示我們的生活在某種深刻的意義上是靜止的，就像主角和女主角最後一次約會時參觀的博物館中死去已久的動物一樣被凍結。

They might not know it, but they're looking at themselves in that museum.

他們可能不知道，但他們正在博物館裡看著自己。

And we might not know it, but we're looking at ourselves in this film.

我們可能不知道，但我們在這部影片中看到了自己。

Now, if that seems depressing, well, that's because it is.

現在，如果這看起來令人沮喪，那是因為事實如此。

不過，馬克的確給了我們一個安慰。

It doesn't come at the end of the film, but in the middle.

它不是出現在影片的結尾，而是在中間。

You see, I lied earlier when I said that this film is made up entirely of still images.

你看，我之前說這部電影完全由靜止圖像組成是撒了謊的。

There is one shot, just one, that moves, preceded by a series of fades that get closer and closer to movement.

有一個鏡頭，只有一個，是移動的，之前是一連串的漸變，越來越接近移動。

The woman's face, for just a second, comes to life.

就在那一瞬間，女人的臉栩栩如生。

It is in the running for the most poignant bit of motion in all of cinema, and it's the slightest bit of motion you can possibly imagine.

它是所有電影中最悽美的動作之一，也是你能想象到的最微小的動作。

What I think Marker is saying is that love, human connection, somehow transcends, somehow escapes the trap of time.

我認為馬克所要表達的是，愛、人與人之間的聯繫，以某種方式超越了時間，以某種方式逃脫了時間的陷阱。

It may be cliche to say that, but there is nothing cliche about the way Marker shows it here.

這樣說可能有些老套，但馬克在這裡的表現卻一點也不老套。

It's shocking to see, so shocking that it's only later you realize that this second of motion wasn't really motion at all, just 24 photos in sequence.

這一幕令人震驚，以至於後來你才意識到，這一秒鐘的運動根本不是真正的運動，而只是 24 張照片的順序排列。

Hey everybody, thank you so much for watching.

大家好，非常感謝你們的收看。

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本期節目由 Squarespace 為您帶來，Squarespace 是創業者在網絡上脫穎而出並取得成功的一體化網站平臺。

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無論您是剛剛起步，還是在管理一個成長中的品牌、

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現在，你可以利用設計智能製作一個完全個性化的網站，將二十年來行業領先的設計專業知識與尖端的人工智能技術相結合，釋放你最強大的創意潛能。

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如果您要銷售產品，Squarespace 支付也能讓您輕鬆搞定。

It's compatible with popular payment methods like Klarna, ACH Direct Debit,

它與 Klarna、ACH Direct Debit 等常用支付方式兼容、

Basically, a Squarespace site looks and feels professional, something that will impress all your customers and fans.

基本上，Squarespace 網站的外觀和感覺都很專業，會給您的所有客戶和粉絲留下深刻印象。

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前往 squarespace.com 獲取免費試用版，當你準備好啟動時，前往 squarespace.com slash nerdwriter 首次購買可享受九折優惠。