What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)

What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)

Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang (YIDFF 2005), carving out the cruelty of history, and questioning the precarious existence of the nation-state.

Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang (YIDFF 2005), carving out the cruelty of history, and questioning the precarious existence of the nation-state.

電影《變態者意識形態指南》是由斯洛文尼亞的哲學家、拉康精神分析專家斯拉沃熱‧齊澤克編寫劇本及主演、由蘇菲‧費因斯(Sophie Fiennes)執導。如齊澤克的另一部《變態者電影指南》一樣，它透過穿梭於著名的電影場景之間來勾勒出一個理解藝術和世界的精神分析理論框架，是某種意義下一部「紀錄片」。

電影《變態者意識形態指南》是由斯洛文尼亞的哲學家、拉康精神分析專家斯拉沃熱‧齊澤克編寫劇本及主演、由蘇菲‧費因斯(Sophie Fiennes)執導。如齊澤克的另一部《變態者電影指南》一樣，它透過穿梭於著名的電影場景之間來勾勒出一個理解藝術和世界的精神分析理論框架，是某種意義下一部「紀錄片」。

《不忘初心》上集，时长49分钟 　　1818年5月5日，马克思出生在德国西南部的千年古城特里尔。没有上过小学的马克思在深受法国资产阶级思想影响的父亲的指导下接受了启蒙教育。特里尔中学民主自由的氛围让17岁的马克思就立下了“为人类而工作”的宏大志向。1835年10月，马克思开启了他的大学时代，从波恩大学到柏林大学，从一幅刻画着马克思最早形象的石板画到“博士俱乐部”中慷慨激昂的年轻人，奋发读书，勤于思考，笔耕不辍，不满23岁的马克思凭借一篇论文获得了博士学位。为了追寻真理，与旧世界的反动势力作坚决斗争，马克思先后做过《莱茵报》的主笔、《德法年鉴》的主编，在此期间他不但与终身的爱人燕妮结出了爱情的果实，与一生的革命挚友恩格斯开始了伟大的事业，而且在思想上也完成了从唯心主向唯物主义、从革命民主义向共产主义的转变。 　　19世纪上半叶，风云激荡的欧洲大陆就是马克思和恩格斯驰骋的疆场。从德国到法国，从巴黎到布鲁塞尔，从欧洲大陆到大洋的彼岸，马克思为了革命事业四次被反动政府驱逐，甚至成为没有任何国籍的“世界的公民”。马克思恩格斯建立了共产主义通讯委员会，把正义者同盟改组为人类历史上第一个以科学社会主义为指导的无产阶级政党“共产主义者同盟”，撰写了宣告马克思主义正式诞生的无产阶级战斗檄文《共产党宣言》。“全世界无产者，联合起来！”成为1848年欧洲革命中无产者的革命号角！此时，马克思29岁，恩格斯27岁。 　　《牢记使命》下集，时长47分30秒 　　1848年革命失败后，马克思流亡到了伦敦。在抵达伦敦后，马克思立即展开了对救济各国革命流亡者的工作，和恩格斯一起创办杂志总结革命经验和宣传革命理论。在伦敦，在艰难困苦的流亡生活中，马克思潜心研究政治经济学理论，关心和支持各国工人运动，老朋友恩格斯在经济上和研究上都给予了马克思无私的帮助。经过长达数十年辛勤工作，马克思克服了贫困、子女夭折和疾病等常人难以想象的困难，写出了政治经济学巨著《资本论》。 　　马克思一生的理论研究和革命实践活动展现了“目标始终如一”的革命家品质，由此形成的良好家风潜移默化影响到了三个女儿，她们也都成为了坚定的社会主义革命者。妻子和大女儿的去世给晚年马克思造成了沉重打击。1883年3月14日，为人类解放奋斗一生的马克思逝世。在此后的一百多年里，马克思的墓地成为了全世界革命者心中的圣地。在马克思逝世后，恩格斯继续马克思的未竟事业，整理和出版了他的著作，继续领导各国工人运动。 　　马克思和恩格斯在毕生的革命活动中始终关注和研究中国。在《马克思恩格斯论中国》一书中收录了他们写的关于中国问题的17篇论文，并预言中华民族必将重新崛起，成为“亚洲新纪元的曙光”。 　　中国共产党一经成立，就把马克思列宁主义写在自己的旗帜上。在中国革命、建设、改革的历程中，中国共产党始终坚持把马克思主义基本原理同中国具体实际相结合，创造性地运用和发展马克思主义，形成了马克思主义中国化的光辉理论成果。习近平新时代中国特色社会主义思想是马克思主义中国化最新成果，是当代中国马克思主义、21世纪马克思主义，开辟了马克思主义新境界。 　　与时代同步伐，与人民共命运，关注和回答时代和实践提出的重大课题，是马克思主义永葆生机活力的奥妙所在。

《不忘初心》上集，时长49分钟 　　1818年5月5日，马克思出生在德国西南部的千年古城特里尔。没有上过小学的马克思在深受法国资产阶级思想影响的父亲的指导下接受了启蒙教育。特里尔中学民主自由的氛围让17岁的马克思就立下了“为人类而工作”的宏大志向。1835年10月，马克思开启了他的大学时代，从波恩大学到柏林大学，从一幅刻画着马克思最早形象的石板画到“博士俱乐部”中慷慨激昂的年轻人，奋发读书，勤于思考，笔耕不辍，不满23岁的马克思凭借一篇论文获得了博士学位。为了追寻真理，与旧世界的反动势力作坚决斗争，马克思先后做过《莱茵报》的主笔、《德法年鉴》的主编，在此期间他不但与终身的爱人燕妮结出了爱情的果实，与一生的革命挚友恩格斯开始了伟大的事业，而且在思想上也完成了从唯心主向唯物主义、从革命民主义向共产主义的转变。 　　19世纪上半叶，风云激荡的欧洲大陆就是马克思和恩格斯驰骋的疆场。从德国到法国，从巴黎到布鲁塞尔，从欧洲大陆到大洋的彼岸，马克思为了革命事业四次被反动政府驱逐，甚至成为没有任何国籍的“世界的公民”。马克思恩格斯建立了共产主义通讯委员会，把正义者同盟改组为人类历史上第一个以科学社会主义为指导的无产阶级政党“共产主义者同盟”，撰写了宣告马克思主义正式诞生的无产阶级战斗檄文《共产党宣言》。“全世界无产者，联合起来！”成为1848年欧洲革命中无产者的革命号角！此时，马克思29岁，恩格斯27岁。 　　《牢记使命》下集，时长47分30秒 　　1848年革命失败后，马克思流亡到了伦敦。在抵达伦敦后，马克思立即展开了对救济各国革命流亡者的工作，和恩格斯一起创办杂志总结革命经验和宣传革命理论。在伦敦，在艰难困苦的流亡生活中，马克思潜心研究政治经济学理论，关心和支持各国工人运动，老朋友恩格斯在经济上和研究上都给予了马克思无私的帮助。经过长达数十年辛勤工作，马克思克服了贫困、子女夭折和疾病等常人难以想象的困难，写出了政治经济学巨著《资本论》。 　　马克思一生的理论研究和革命实践活动展现了“目标始终如一”的革命家品质，由此形成的良好家风潜移默化影响到了三个女儿，她们也都成为了坚定的社会主义革命者。妻子和大女儿的去世给晚年马克思造成了沉重打击。1883年3月14日，为人类解放奋斗一生的马克思逝世。在此后的一百多年里，马克思的墓地成为了全世界革命者心中的圣地。在马克思逝世后，恩格斯继续马克思的未竟事业，整理和出版了他的著作，继续领导各国工人运动。 　　马克思和恩格斯在毕生的革命活动中始终关注和研究中国。在《马克思恩格斯论中国》一书中收录了他们写的关于中国问题的17篇论文，并预言中华民族必将重新崛起，成为“亚洲新纪元的曙光”。 　　中国共产党一经成立，就把马克思列宁主义写在自己的旗帜上。在中国革命、建设、改革的历程中，中国共产党始终坚持把马克思主义基本原理同中国具体实际相结合，创造性地运用和发展马克思主义，形成了马克思主义中国化的光辉理论成果。习近平新时代中国特色社会主义思想是马克思主义中国化最新成果，是当代中国马克思主义、21世纪马克思主义，开辟了马克思主义新境界。 　　与时代同步伐，与人民共命运，关注和回答时代和实践提出的重大课题，是马克思主义永葆生机活力的奥妙所在。

IVYhttp://www.mtime.com/my/rocky/　　这个世界上最难以平复的痛苦，无疑是被迫与亲人至爱阴阳两隔的愤怒……马克思·佩恩是一个严肃至极的警察，虽然独来独往惯了的他还有点蔑视规章制度的小毛病，却仍然不啻为一个尽职尽责的优秀执法者。像警察这个行当，是最容易树敌的职业之一，马克思也不例外，每一个被他亲手抓住扔进监牢的罪犯，都对他恨这入骨，欲除之而后快。马克思了解自己职业所带来的危险，可是他也乐于接受这种刺激的挑战。然而让他想象不到的是，罪恶的魔爪竟然伸向了他的老婆和孩子，在家人被残忍地杀害后，几近疯狂的马克思开始在崩溃的边缘游走，为了给老婆孩子报仇，他什么事情都做得出来。　　马克思所实施的一系列过于充满强迫性的调查，最终将他引导至黑暗的地下世界，这个时候，突然出现了一个对他穷追猛打的杀手，马克思从这个杀手身上感受到了和自己一样的愤怒的火花……杀手名叫莫娜·塞克斯，她误以为强暴了她的姐姐之后又将她杀死的那个人就是马克思，所以才会将他当成一生的仇敌，然而经过一番调查，莫娜却惊讶的发现，原来她和马克思所寻找的仇家，竟然是同一个人。两个为了共同的目标而暂时结成同盟的人，开始了一场有如噩梦般的旅程，随着他们越来越接近谋杀案的真相，马克思发现自己不仅需要面对一些超自然的力量，还将经历一次想象不到的背叛与抉择。

IVYhttp://www.mtime.com/my/rocky/　　这个世界上最难以平复的痛苦，无疑是被迫与亲人至爱阴阳两隔的愤怒……马克思·佩恩是一个严肃至极的警察，虽然独来独往惯了的他还有点蔑视规章制度的小毛病，却仍然不啻为一个尽职尽责的优秀执法者。像警察这个行当，是最容易树敌的职业之一，马克思也不例外，每一个被他亲手抓住扔进监牢的罪犯，都对他恨这入骨，欲除之而后快。马克思了解自己职业所带来的危险，可是他也乐于接受这种刺激的挑战。然而让他想象不到的是，罪恶的魔爪竟然伸向了他的老婆和孩子，在家人被残忍地杀害后，几近疯狂的马克思开始在崩溃的边缘游走，为了给老婆孩子报仇，他什么事情都做得出来。　　马克思所实施的一系列过于充满强迫性的调查，最终将他引导至黑暗的地下世界，这个时候，突然出现了一个对他穷追猛打的杀手，马克思从这个杀手身上感受到了和自己一样的愤怒的火花……杀手名叫莫娜·塞克斯，她误以为强暴了她的姐姐之后又将她杀死的那个人就是马克思，所以才会将他当成一生的仇敌，然而经过一番调查，莫娜却惊讶的发现，原来她和马克思所寻找的仇家，竟然是同一个人。两个为了共同的目标而暂时结成同盟的人，开始了一场有如噩梦般的旅程，随着他们越来越接近谋杀案的真相，马克思发现自己不仅需要面对一些超自然的力量，还将经历一次想象不到的背叛与抉择。