汪民安继《米歇尔·福柯》之后，又推出的一部新的论文电影《现代性》。这是以他的著作《现代性》为基础制作而成。《现代性》一书出版后广受欢迎，多次再版，豆瓣数千人评分高达9分。这部电影以《现代性》一书为脚本，从大量既往的电影、绘画、照片和音乐中选取了与现代性密切相关的材料，并对这些材料进行新的“挪用”、剪辑和组织。“现代性”从静止的纸页上来到了活动影像上。 　　“现代性是一个纷繁复杂的概念，书中从现代生活、现代资本主义、现代观念、工业主义和民族-国家以及现代性的冲突五个方面，具体探讨了现代性的基本特征和内涵，从各个层面对现代性这一复杂而内部矛盾重重的悖论系统做了简要、精辟的论述。” 　　对人文科学和社会科学而言，现代性是一个至关重要的概念。它有多重的意义。有社会、政治，经济和文化等不同层面上的现代性。因为学科和视野的不同，人们对这个概念的理解也不同。这部片子试图从多个角度去探讨现代性的含义。电影的四个部分就是从四个层面去讨论现代性的诸多维度。 　　汪民安教授不是第一次来到北京大学进行学术放映。早在2016年，北京大学艺术学院曾举办“黉门对话”专家主题论坛，论坛聚焦欧洲当代哲学与艺术理论。汪民安教授的论文电影《米歇尔·福柯》作为学术影像进行放映，纪念米歇尔·福柯逝世90周年。李洋教授、戴锦华教授、汪民安教授都曾出席该活动。 　　今天，我们再一次非常荣幸地邀请到汪民安教授作为本次活动的嘉宾，以及李洋教授担任活动的主持人。届时，我们将一同观赏汪民安教授的最新电影作品《现代性》，并在影片放映结束后，举行一场深入的影后座谈会。 　　汪民安，清华大学中文系教授，主要研究方向为批评理论、文化研究，现代艺术和文学，著有《尼采与身体》《福柯的界限》《谁是罗兰·巴特》《现代性》《论家用电器》《身体、空间与后现代性》《什么是当代》《绘画反对图像》《论爱欲》等，最新著作《亲密关系的核心是友谊》，主编理论丛刊《生产》《褶子》，主编“人文科学译丛”、“福柯文选”等多套西方理论丛书。 　　2016年，汪民安创作了论文电影《米歇尔·福柯》，影片在北京大学、中央美术学院等学校和艺术机构放映。

随着手机功能的不断强大，人们对手机的依赖也越来越大。挤公交、工作、谈恋爱、吃饭、睡觉......生活里的每个缝隙几乎都被手机填满了，不知不觉，它成了人们生命中“最重要的人”。然而许多人在社交网络里广结朋友，和陌生人侃侃而谈，在现实生活中却沉默少语，对社交产生恐惧。这不禁让人感慨手机到底是拉近了人与人之间的距离，还是使人们渐行渐远了呢？我们的动画作品就是针对当今的这个社会现象创作的二维动画短片。

随着手机功能的不断强大，人们对手机的依赖也越来越大。挤公交、工作、谈恋爱、吃饭、睡觉......生活里的每个缝隙几乎都被手机填满了，不知不觉，它成了人们生命中“最重要的人”。然而许多人在社交网络里广结朋友，和陌生人侃侃而谈，在现实生活中却沉默少语，对社交产生恐惧。这不禁让人感慨手机到底是拉近了人与人之间的距离，还是使人们渐行渐远了呢？我们的动画作品就是针对当今的这个社会现象创作的二维动画短片。

一个人被困在电梯里。

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

作为灵魂乐的教父级人物詹姆斯·布朗（查德维克·博斯曼饰）的一生，可谓充满了传奇色彩。尤其是在风云多变的上个世纪，历经30年代的出生与成长，其慈母…

8个平凡故事，讲述生命向上历程。2023年度人物影像志，讲述在依然充满挑战的2023年，那些关于勇气、信念和成长的、普通人的故事。 　　2023年，每个人对生活有了更深刻的理解：要在不确定的外部环境下，向内坚守、尽情生活；在再次开放的世界中，向外探寻，重拾信心；在时代中求知若渴、拥抱变化。每个状态，每种过程，都是一段“向上”探索的人生旅程。本片选取8位各不同年龄、职业、地域的人物，讲述他们在2023年经历的不同的“向上故事”，寻找每个人内心深处的“向上原动力”。他们关联不同的话题，但有着群体的代表性。他们有不同的职业和生活，有当下价值、有对美好生活的渴望。他们也都是普通人，在探寻美好时有不同的故事，引发共鸣和鼓舞。

One fascinating facet of late capitalism is that it can take in almost anything and sell it back to us for profit. Particularly in Europe and North America, this has seen the absorption of drag culture and its commodification as mildly irreverent, high-ratings entertainment. Its significant value in normalising gender fluidity notwithstanding, that version of drag loses its inherent radicality, as a repudiation of the very foundations of oppressive social structures. 　　Avant-Drag! paints portraits of nine drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism. 　　A line from the film’s exquisite punk-poetic narration describes this impulse perfectly: it’s “a demand to change the world that comes from the past, looking straight into the future.” And, lest you be concerned, have no fear that there is no shortage of gloriously outlandish outfits and towering high-heeled boots. This is drag, after all.

One fascinating facet of late capitalism is that it can take in almost anything and sell it back to us for profit. Particularly in Europe and North America, this has seen the absorption of drag culture and its commodification as mildly irreverent, high-ratings entertainment. Its significant value in normalising gender fluidity notwithstanding, that version of drag loses its inherent radicality, as a repudiation of the very foundations of oppressive social structures. 　　Avant-Drag! paints portraits of nine drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism. 　　A line from the film’s exquisite punk-poetic narration describes this impulse perfectly: it’s “a demand to change the world that comes from the past, looking straight into the future.” And, lest you be concerned, have no fear that there is no shortage of gloriously outlandish outfits and towering high-heeled boots. This is drag, after all.