In the years following the end of the Second World War Carol Reed directed three films, Odd Man Out (1947), The Third Man (1949), and The Man Between (1953), that all dealt with individuals somehow cast alone into post-war urban environments that shared certain characteristics of division and violence. This article argues that they can be usefully analysed through the lens of Walter Benjamin's notion of the creaturely, especially through Eric Santner's explication of the concept. It considers the films from three aspects of Santner's creaturely life: natural history, the state of exception, and undeadness. These qualities of the creaturely as an analysis of the human condition help to encompass some of the strangeness of Reed's apparently conventional film narratives. The films' characters can be seen as overtly modelling a kind of Benjaminian natural history, the history of the brutal twentieth century, in which the vulnerable, mortal, dying human beings at the centre of these tales stumble around in rea...

中文翻译：

---

卡罗尔·里德城市的生物生活：埃里克·桑特纳和沃尔特·本杰明

在第二次世界大战结束后的几年里，卡罗尔·里德执导了三部电影，奇人出局（1947 年）、第三人（1949 年）和中间人（1953 年），所有这些电影都涉及以某种方式单独进入后具有某些分裂和暴力特征的战争城市环境。本文认为，可以通过沃尔特·本雅明 (Walter Benjamin) 的受造物概念，尤其是通过埃里克·桑特纳 (Eric Santner) 对该概念的解释，对它们进行有用的分析。它从桑特纳生物生活的三个方面来考虑这些电影：自然历史、例外状态和不死生物。作为对人类状况的分析，生物的这些品质有助于包含里德显然传统的电影叙事的一些奇怪之处。电影的