In the article "Good Times, Or, Pleasure at the Barrière" (Good Times, Or, Pleasure at the Barrière), the last published by Rancière in this publication, Rancière begins with popular songs in Parisian cafés and theatres in 1849, The singing and entertainment of workers' lives, as well as the state's censorship system and the political atmosphere of the time, cut into discussions of the reality, understanding, and imagination of the nineteenth-century working class.
"Barrière" refers to the place where workers seek pleasure outside the city walls of Paris, but on the other hand, it can also be said to be Bourgeois's imagination of workers' culture: alcoholism, indulgence, but full of provocation, these characteristics have been secretly turned into cafes "immoral" songs in the theatre or in the theatre. However, on the other hand, the taverns outside the city walls also have meanings that cannot be singled out. They are not only places of entertainment for workers, but also places to socialize and exchange information, share experiences, and even find new opportunities. The disorder created by this mix of dragons and snakes disrupts the "boundaries" of social classes. Rancière pointed out that in the 1970s research, such bistro culture was mostly seen as a resistance to factory discipline and the moralization of the middle class, ignoring its entertainment value. On the contrary, what really challenged the censorship system at the time was the entertainment in the Bourgeois Theater, which was generated from the popular content of the cultural imagination of the workers and stirred up the moral deployment of Bourgeois. (Rancière, "The Name of History")
The Hungarian tavern in Bella Tarr's film, especially the "Titanic Bar" in "Ancestral Curse", is such a typical Barrière, where there are not many conflicting elements in the film, and it is more the director" Lyrical" example. Barrière is the engine of the film, where all the desires of the proletariat are instigated, these "dangerous minorities" who have crossed all kinds of "lines", these nights stolen from the daily work, the rest - every A wet rainy night where everything is stirred, fermented, purified. They use language that "transcends" the definition of social class, creating a vague relationship of proximity and interchangeability between workers and factory owners. This particular "class awkwardness" also appears in the self-expression of these worker writers , when he wanted to express his contempt for others such as the middle class, writers, politicians, and even the working class. Rancière points out that the labor movement in "Night of the Proletariat" is also an aesthetic movement: a practical action that attempts to redefine the time and space that it is regulated by. At the heart of this "revolution" lies the distribution of "time"—a general idea of the life of workers who work during the day and rest at night—interrupting, and these workers use the evening hours to do other things.
Bella Tarr is the great proletarian director, a master of pure materialist cinema.
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