[자막] 장-뤽 고다르의 <이미지 북 Le livre d'image>(2018) - 영어 자막, MUBI 버전

Le livre d’image (The Image book, 2018)

Réalisé par Jean-Luc Godard

English Subtitles (MUBI ver.)

• 참고: 2018년 12월 3일 고다르의 88번째 생일을 맞아 MUBI(UK)에서 <이미지 북>(2018)의 스트리밍 서비스를 오픈했습니다. (대략 30일 정도의 기간만 서비스 이용이 가능합니다.)
• 참고 2: 개인적으로 영화를 보는 내내 MUBI가 제공하는 영어 자막이 부실하다고 생각했습니다. 그래서 두 번째로 보기 시작하면서부터는 (영화를 더욱 잘 이해하기 위해서) 고다르의 내레이션과 영화 내의 여러 말(텍스트-이미지 포함)을 받아 적기 시작했습니다. 그러다 보니 MUBI에서 제공하는 영어 자막을 (거의 다) 적게 되었습니다. 그 결과물, 즉 <이미지 북>의 (MUBI 버전) 영어 자막을 "개인적인 기록 보존(혹은 자료 보존)"을 목적으로 업로드합니다.
• 참고 3: “<>”, 여기 안에 적힌 것은 영화의 진행 시간을 의미합니다. 참고용으로 병기합니다.
• 참고 4: “(...)”, 이는 제가 임의로 줄인 것이 아니라, MUBI에서 자막을 제공하지 않은 부분입니다.

레오나르도 다 빈치의 <세례 요한>(1513-16)

<0:00:24~>

World’s masters should be… … wary of Bécassine : she is silent.

<0:00:55~>

Fairy’s five fingers together they make up the hand. Man’s true condition: to think with hands

<0:01:41~>

(ARCHIVES AND MORAL)

(Le livre d’image 타이틀)

Go fetch the books … we’ll have a look

<0:02:03~>

(IMAGE AND WORDS)

<0:02:33~>

(SIGNS AMONGST US PICTURE)

Chapter 1. REMAKES

It’s like a bad dream written in a stormy night (키스미데들리) Moral fault was merged with state crimes. One would carry out the saviour act if we could drive to death our way of thinking and talking that want only to keep up appearances.

<0:04:53~>

(자니기타) Tell lies

<0:04:58~>

I’m not sad that you are leaving. I’m not in love with you. (…)

<0:08:41~>

Spring 1944, the war was over

(RIM(AK)ES)

To be immortal has no interest for you? (현기증)

What will become of me if I don’t die? (…)

(라탈랑트)

<0:10:20~>

We have signed 반복.

<0:10:40~0:10:50>

(폭군 이반) With communists I’ll go to death but I’ll not do one more step.

Chapter 2. LES SOIRÉES DE ST. PETERSBOURG

War is here. Nothing is as handy as a text. (…) To put into book, what would it be, into book, one puts reality? And put reality into reality? Holiday come to an end. I need one whole day to tell the story of one second. (…) I need a lifetime.

<0:14:04~>

(오르페의 유언) So horrible

<0:14:10~>

It’s in St Petersburg that de Maistre wrote the evenings a day before the Battle of Moscova (…) Tortures are punishment of man’s wickedness (…) The executioner carries out divine fate (…) Heaven can only be soothed with blood. The innocent may pay for the guilty.

<0:16:24~0:18:10>

(우게츠 이야기) During the evening, Count de Maistre went on (…) with his most foolish words. This is the law of the destruction of the living (…) Every being must be sacrificed. (…) Once more, we understand that we didn’t imagine that war would end without our victory. War is therefore divine (…) Who could believe that the victims had shed their blood in vain?

<0:18:40~>

By the end of the evening those words of French diplomacy

<0:19:08~>

(마부제 박사의 유언) I wish you good luck. And Malraux(앙드레 말로) said simply : To transform our apocalypse into an army or die, that’s all.

<0:19:30~>

Leave me alone! All alone!

Chapter 3. CES FLEURS ENTRE LES RAILS, DANS LE VENT CONFUS DES VOYAGES

The Warsaw train was approaching Petersburg at full steam.

<0:22:30~>

When a century slowly dissolves into the next century, some people transform means of survival into new means. It’s the latter that we call art. No activity shall become an art before its time is over then this art will disappear.

<0:23:32~>

(상하이에서 온 여인)

<0:24:47~>

Clearly, you’re asleep. (…) At least madam, will you explain to me? Nothing. If you dream, accept your dreams. The words of Goethe had become dreadful when heard in the nights of small Russian railways

<0:24:59~>

We want to travel without steam or sails. To cheer up our jails, spread through our minds stretched out like a screen. Our memories with their framed horizon.

<0:26:10>

(SOUS LES YEUX DE L’OCCIDENT)

Tell me why you were a spy?

Even among communists, money is the most important. (…) shall do exactly the same thing.

<0:28:38~>

All of them The lush green of summer / regal / blaze of autumn and the ruin of winter before spring would bloom again darkened by time.

<0:29:38~>

Not like sentinels, No. As if they we’re defending (…) the living against the dead. (…)

<0:30:36~>

All of them (…) Before spring would bloom again.

Chapter 4. L'ESPRIT DES LOIS

(코뮌, 피터 왓킨스 작품)

<0:32:54~>

The flag, The flag goes with the foul landscape (…) Arthur Rimbaud: Democracy (…)

<0:33:48~>

If I could make those who are in command increase their knowledge about what they have to prescribe and that those who obey would find pleasure in obeying, I would be the most happy man. (…)

<0:34:27~>

I’m calling prejudice (…) what one ignores oneself.

<0:34:57~>

It’s no more permissible for a government or for an individual to be an assassin. Everything done in Europe is done by Europe. (…) Here one massacres, ones burns, one loots. One slits the throats of fathers and mothers. One sells little girls. (…)

<0:35:40~>

So that to the living who sent them the carnage the dead are sending the plague. We inform Europe’s government this (…) France’s destiny followed that of America’s like in the romantic German fairy tales. The cat (…) that makes his master’s ambitions derisory.

<0:36:40~>

(…)

<0:37:00~>

It’s when looking for how to teach men that one may take part in this general virtue that consists of love for all. (…) Man (…) is able to know his own nature when shown and to lose it when stolen from him

<0:38:00>

(젊은 링컨)

<0:39:00>

(프릭스->포르노->프릭스->포르노)

<0:39:30~>

Secret and law.

<0:39:52~>

It doesn’t matter, all is grace. A man that justice has cut off from the living belongs to the Bench (…) The prison belongs to the Bench, which controls it absolutely. There is something wrong with the law.

<0:41:31~>

Society is based on a shared murder .

<0:41:36~>

Remember (…)

<0:42:23~>

Not by principle but Europe does not have the necessary virtues.

<0:42:46~>

To slit the throat of the infidels.

<0:42:59~>

I prefer poor people because they are the defeated (…) I knew neither rules nor exceptions (…)

<0:43:54~>

thirst for words, then the image

<0:44:10~>

What does that mean, politics? Virtue / Terror / Virtue / Terror / Terror / Virtue

<0:44:50~>

What is she saying? I can’t hear anything. She says that the poor will save the world.

<0:45:29~>

They will ask for torching in exchange. They will do this huge deal.

Chapter 5. LA RÉGION CENTRALE

It’s a brief story that of the mass extinction of species. (…) Two groups The richest billons and the poorest billion, the richest ravage the global environment (…) by producing waste while the poorest destroy their resources by lack of choice.

<0:47:25~>

However, to love those capable of doing this, what more can be expected of love? (…) If we were alive but we are alive, you search inside of me something not living. That’s pain. It’s expecting too much when time is out of time (…) and the waiting that takes place over time opens time to the absence of time where there is nothing to wait for.

<0:48:57~>

There are the five fingers… (…) …the hand. And, after a long time because the stories that are told are going more slowly than actions (오명)

<0:49:50~>

(SOUS LES YEUX DE L'OCCIDENT)

<0:50:00~>

(HEUREUSE ARABIE)

<0:50:05~>

In a novel, the concern in at worst case in any given situation, behavior comes close to the worst

<0:50:19~>

(LES PARADIS PERDUS)

<0:50:30~>

I may die quietly. Do you still remember how long ago we trained our thoughts? Most often, we went from a dream (…) I have always felt like a king’s son. Everyone in Egypt feels the same. The East is more philosophical than the West (…) and everyone is a philosopher because he has time to reflect to look at the world.

<0:51:39~>

Clear off ! / Christianity is the refusal to know oneself the death of language. Suddenly, beyond Tunis, she saw (…) a big curtain of gray powder. (...) camel heads, spears, shields. It was the army of barbarians advancing towards Carhage. (…)

<0:53:17~>

(CES FLOURS PERDUES DANS LE VENT)

<0:53:18~>

There is no doubt that the act is representation almost always (almost always) involves violence towards the subject of the representation. There is a real contrast between the violence of the act of representing and the calm within the representation itself.

<0:54:25~>

They are caught between salamecs and gibberish. The world is not interested in Arabs. Muslims neither. While Islam holds the attention politically the Arab world is primarily scenery and landscapes. Even if the Arab world exists as a world, it is never seen as such it is always considered as a whole relating to a country of the Middle East. They would have loved to die for the homeland and they were going to kill her. Can the Arabs speak? (Can the Arabs speak? 반복)

<0:55:43~>

In a soft low voice, saying great things surprising, deep and accurate matters. Thunder Absolutes in the voice of a robin (…) Delicacy of essential sound. The sun adumbrated between the lips of a smile. (…)

<0:56:35~>

And they were nothings for the ear. But this contrast and this music. This whispered power. These discoveries, these gulfs. This smile, dismissing the universe.

<0:57:18~>

(…)

<0:58:30~>

(ŒUVRES COMPLÈTES D’ALEXANDER DUMAS)

What hasn’t been written. (…) We were talking about what we saw in a dream. We wondered how, in total darkness colors of such intensity could emerge within us. They are the product of our knowledge of light. Knowledge sees. (PASSEPORT VERS LE REEL) The counterpoint is a discipline of superposition. Melodies don’t need to be identical. (…)

<0:59:31~>

In hormone, the arrangements produce melodies. In the counterpoint, it’s the melodies, which, to the contrary, become arrangements.

<1:01:35~>

Far below, the hundred million waves of the ocean crept towards the invisible shores of Dofa from up in the sky they seemed hardly to be moving at all. They stole over the sea with a lazy damascened precision (ARCHÉOLOGIE ET PIRATES (…) In that transparency, the shape of a fish stirred, and vanished. A giant ray or a shark on his way to cooler waters. To the north, lay a group of islands like a row of crocodiles. To the south gardens, fishing boats poised on the glass like mosquitoes.

<1:03:33~>

The religions go the book have forged our societies and we have made its text sacred. Tables of the Law, Ten commandments (…) Koran, etc…

<1:04:11~>

Here, in Dofa, setting up a subversive movement was unthinkable by rumors, except with explosions. In fact, the great imperialist power that ruled the Gulf States was no longer interested in Dofa whose underground had no oil. A government powerful enough to give people everything they wanted is powerful enough to take all they have away.

<1:05:16~>

The rebels of established order had long since renounced to any brutal action in this miserable oasis where a sovereign peace reigned for where there is nothing even villains resign themselves to indigence.

<1:06:28~>

However, we could not forget their ability to excel in abjection when encouraged by more powerful criminals from the outside. Samantar was convinced that the poverty of a country was its only protection against raptors looking for only a promise of prosperity to conquer it, to destroy and to spoil it. Samantar thanked heaven for being born on this land thankless enough to discourage business.

<1:07:32~>

The most astonishing about this was that the attacks were claimed by a so-called “Gulf Liberation Force” in poorly printed leaflets boasting a revolutionary vocabulary long outdated.

<1:08:42~>

The size of Dofa’s territory didn’t lend itself to such stupidity and could become hell.

<1:09:36~>

Sheik Ben Kadem was tormented by a political fantasy because he dreamt of submitting all the Gulf countries to his domination.

<1:10:05~>

It was true that on this arid strip of land. He was the undisputed master since the old emir, crouching in his harem no longer gave him any orders and Ben Kadem had felt passion for power since childhood. But the world wasn’t as simple as his dream. Petrol everywhere except in Dofa had destroyed his hope.

<1:11:16~>

The only man who Ben Kadem could talk to was the one who found this ambition derisory, Samantar, his younger cousin. (…)

<1:12:04~>

The beginning of a revolutionary era in Dofa was a total negation of the possibility of armed action in the peninsula.

<1:12:24~>

Are you alone? Yes I am alone. You are still not ready for this sacrifice. Every political ambition uses the excuse to pretend to sacrifice itself for the people’s happiness but the people have not asked you for anything they just want to live in peace. While in peace, the world is changing. What do we care about this changing world? They are scoundrels accomplices to the universal deceit. The revolution has begun in the Kingdom. I would believe it if it was a real revolution but I doubt it is.

<1:14:20~>

Here, in Dofa, (Here, in Dofa, 반복) people throwing bombs (HICHAM) seems normal to me. It’s the only way they can express their revolt against the harsh methods used by the governments. As far as I am concerned I’ll always be with the bombs. (TAREK) In this region, revolution doesn’t seem vital. It’s true, nowadays, everything is possible.

<1:15:24~>

Do you think men in power today, in the world, anything other than bloody morons? Why dream of being king, when one could dream of being Faust? But nobody dreams of being Faust anymore and everyone dreams of being king.

 

In Dofa, Shiek Ben Kadem’s dream was destroyed. The death of his young lover dispelled his ambition of submitting all the Gulf countries to his rule. Ben Kadem confessed his political errors to Samantar and then he fled and took refuge. Samantar came out of his miserable housing.

 

A few months later, Samantar met Tarek (…) What I’m doing with the children, said the madman is a kind of counter-revolution. A madman can go anywhere with complete freedom of movement and speech. With the help of the children, I blew up the bank and the import-export agency. The two signs of capitalist ignominy. (…) The explosives were found by the children in an old abandoned derrick (…) Chatting with a madman is an invaluable privilege

 

Believe me we are never sad enough (we are never sad enough 반복) for the world to be better.

 

Earth, abandoned, (Earth, abandoned 반복) overloaded with letters of the alphabet, stifled under the knowledge and hardly any ears listening anymore.

 

But the words will never be language.

 

Brecht said, in reality, only a fragment carries the mark of authenticity. Marx and Engels, in there eyes Eugen Sue was a blind man (…) …to produce is to breathe… (…) to exist. Where civil rights were not respected (…) But unlike Balzac, (…) who dazzles our eyes with a transformation of reality.

 

There has to be a revolution.

 

When I talk to myself, I speak the words of another that I speak to myself.

 

And even if nothing would be as we had hoped, it would change nothing of our hopes . They would remain a necessary utopia (…) and the field of expectations would be lager than that of our time (…) just as the past was immutable. expectations will remain immutable and the ones who, when we were young fed… …ardent hope (…) 

-> (쾌락, 막스 오퓔스 작품)