The two films are inseparable from the theme of sex, and the most intuitive difference between the films is whether the sexual scenes are displayed or not. To some extent, it seems to be a strong contrast between abstinence and indulgence, so this paragraph will analyze from the aspect of sex. Paul Verhoeven's rewriting of gender relations in broad and narrow definitions.
The movie "Vertigo" did not use much ink to describe the sexual process. The male protagonist has a distance from the women in the play, and tends to be Platonic. Even with Marlen or Judy, it is only borderline sexual behavior.
The male protagonist has a friendship in his relationship with Miguel, and there may be Xiao Xiang who has not spoken to each other, but it is generally a relationship that is not for sexual purposes, and pays more attention to spiritual companionship. And Miguel poured both friendship and love into this relationship, but she was timid and chose to stay with her for a long time as a friend for fear of being rejected, and through her jealousy and interrogation of the male lead, we can Seeing that she doesn't trust the male lead.
His role as a traitor in his relationship with his titular friend's wife, Marlen, the somewhat increased sensory stimulation of this immoral, taboo affair, coupled with the tension of the investigation and follow-up, has a drawbridge effect in the relationship. medium-strength presence. According to the two-factor theory of emotions, we can reasonably speculate that he interprets the rapid heartbeat caused by dangerous situations as heartbeat, so he breeds feelings of love, and he does not have feelings when facing Judy, which also supports this. In his relationship with Judy, he exists as a compensator and cannot accept contact with the other party. Judy only serves as an alternative sustenance for his emotions. This certain spiritual cleanliness shows his extreme pure spiritual fascination with Maren. . From the death and reunion of the two as nodes, the initiative of the relationship has shifted, and the male protagonist has experienced a transition from being a seducer to a seducer.
Freud pointed out in "Three Treatises on Sexuality" that sex is one of the impulses most uncontrolled by higher mental activities.
The word "instinct" refers to its inherent ability, involving sex and aggressive desire. The movie "Instinct" combines sexual desire and killing desire, and uses sexual scenes as a carrier to elaborate the meaning of instinct that is not controlled by the mind. Different from the spiritual Xiaoxiang, the relationship between the male protagonist and the women in the film is developed through sexual behavior or procedural sexual behavior, and carnal desire is the absolute driving force of this film.
In the relationship with Beth, Beth put more feelings into this relationship, and in daily life, he also considers how to get back his position for the man instead of only confining his emotions to the bed, but the man inevitably has The suspicion of using the convenience of sex to complete the mental appraisal is similar to Miguel's unilateral love for the man, and both belong to the relatively weak party in the emotional life. The two people, as underground lovers, usually only have sex, and their communication is the ultimate goal of sex, and they pay more attention to the catharsis of their desires. It may be in response to Eileen Chang's sentence "The passage to a woman's soul is the vagina". Beth was willing to be pinched by the other party during sex, and she did not resist the sudden change of the other party's slightly violent sex. Miguel has more complete trust in the male lead.
In his relationship with Catherine, he is in a dual position of seducer and kindred. Like Vertigo, he is attracted to dangerous women, but he has the status of kindred. At the beginning of the film, the male protagonist appears as a police detective, and Catherine appears as a murder suspect. The two were originally opposite camps, but then we learned that he had a precedent of shooting innocent tourists, and the desire to kill became the basis for their connection . He was sure that Catherine would not apply for a lawyer's defense. It was because she subconsciously replaced herself with a murderer to consider a way out. Catherine took the initiative to accept a polygraph test to clear her suspicions, which was a response to her speculation. This scene was not like an interrogation. It's a flirtation that deserves a return. From the beginning, Catherine acts as a collector of lust and slaughter. Sex is the source of beauty. As the materialization of sexual desire, she plays the role of a seducer throughout the film and dominates the contest with the male protagonist. She satisfies her voyeuristic desire through the naked scenes of changing clothes many times to stimulate her sexual desire, and uses the word "shooter" to make her anger arouse her desire to kill. Finally, she uses the ritual of making love to gradually gain the trust of the male protagonist. , even if the male protagonist is unable to declare that he will catch the murderer, it is difficult to hide the fact that he has long lost and indulged in carnal desires. At the end of the film, the male protagonist shot again under the dual stimulation of Catherine's sexuality and the death of his friend, killing his lover Beth. Three months of alcohol and drug withdrawal were washed away by sexual desire and killing desire. Net, this is instinct.
Sex, as a common medium for both, is the theme of the narrative in the film. The director also introduced a slight sexual abuse complex to emphasize the power of instinct. At the same time, studies have shown that groups who prefer sexual abuse are more bisexual, which also enhances the authenticity of Katherine's bisexual identity. Killing evolves into sexual abuse in the process of sex, and the desire to kill evolves into sadism, and the film uses the tool of rope binding to show the power contrast between the two. Catherine used white ribbons to bind her sexual objects during several sex sessions. Before killing others, she suppressed others to increase psychological pleasure. She also occupied the absolute peak of sexual affairs. . The interesting thing is that we also see Katherine trying to kill the male protagonist many times, but finally put down the ice pick and leaned over to suffer orgasm. Sexual desire seems to replace the pleasure brought by killing, but the male protagonist regains her sexual desire. The desire to kill, and eventually the gun is loaded to kill the lover. The desire to kill has been dispersed and transferred in sex, and it also runs through the sexual desire, so the two people use killing as a fetter and sexual intercourse as a way to complete the sacrifice of their instincts in one orgasm.
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