Although best known for his music, Serge Gainsbourg also starred in and directed several films. This article considers his directorial debut, Je t’aime moi non plus (1976) through the optic of Georges Bataille’s theorisation of the sacred and the heterogeneous. According to Bataille, bourgeois capitalism is characterised by material and moral values, respect for work and homogeneity. Against this he posits the outsider values of the sacred. Where capitalism is predicated on production and accumulation, the heterogeneous is defined by unproductive expenditure, such as sexual play, art and sacrifice. These values are applied to Gainsbourg’s image, his alter ego ‘Gainsbarre’, and his artistic output, before focusing on the 1976 film. Conclusions are made regarding the film, plus Gainsbourg’s status as an exemplar of Bataillean values, celebrated in his fans’ curation of his memory on YouTube.

中文翻译：

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神圣的恶臭：Bataillean阅读Gainsbourg的电影《 Je t'aime moi non plus》

尽管以他的音乐而闻名，但Serge Gainsbourg也出演了几部电影并担任导演。本文通过乔治·巴塔耶（Georges Bataille）对神圣与异质的理论化思考，来考察他的导演处女作《 je t'aime moi non plus（1976）》。根据巴塔耶的说法，资产阶级资本主义的特征是物质和道德价值，对工作的尊重和同质性。与此相反，他认为神圣的局外人价值观。在资本主义以生产和积累为基础的地方，异质性是由非生产性支出定义的，例如性游戏，艺术和牺牲。在着重于1976年的电影之前，这些价值观被应用到了盖恩斯堡的形象，他的另外一个“ Gainsbarre”及其艺术作品上。得出有关电影的结论，以及盖恩斯堡（Gainsbourg）作为Bataillean价值观典范的地位，