A few days ago, the Taiwan Psychoanalytic Society discussed the movie "Desire to Seek" under the guidance of Dr. Li Junyi, and everyone put forward very incisive views. Dr. You Peilin focused on how the protagonist's inversion performs multiple defensive functions during the process of mourning and mourning failure? Dr. Cai Rongyu raised a more "clinical" question during the meeting: that is, when watching this movie, several times Why is the fear of endangerment eased? Regarding this point, Dr. Huang Shiming responded that the skin has a protective and shielding effect in psychology, which reminded me of the title of the movie: "the skin I live in" I suddenly felt that the title of the movie Good to get. Therefore, in the following short article, I would like to talk about a few related associations from the title of the film. The title "the skin I live in" can be translated in many ways: "the skin I live on", or "the skin I live in" etc.... When you first read the title, the first thing that comes to mind is Vincent, who was sexually assaulted by Dr. Robert's plastic surgery, and the pain of him/her being reduced to a living experiment on Robert's skin. This layer of invulnerable skin is completely imprisoned for her, and the revenge against him/her through the process of plastic surgery and imprisonment has also projected many indigestible emotions of the protagonist. This huge and submersible mass Projection, I think is the most terrifying Lingchi: "Why doesn't the person I love love me?" "How can I escape the pain of reality?" "Who am I?" "Am I male or female?" "I am Myself? Or a dead ghost" "Why is my mother standing in front of me, but I can't recognize each other?" And the emotions experienced by the victim Vincent (later renamed Vera) are actually indigestible by the protagonist Robert mood. First of all, "the skin I live in" if translated as: "the skin I live on" , which happens to be Robert's profession: scientists and plastic surgeons who develop artificial skin. On the surface, this layer of skin is to heal the trauma of losing his wife (his wife eloped with his brother in a car accident, was burned and disfigured by fire, and then jumped off the building because he couldn't bear to see himself twisted and deformed), but why did Robert rape his daughter? What about Vinterson's plastic surgery to look like his dead wife? Of course, the castration during the plastic surgery was a necessary revenge, and Robert wanted Vinterson to pay for his male sexuality; but Robert, cuckolded by his wife, in a way It can also be said that he was castrated by his wife. Second, in the process of reshaping Vincent into Vera, the various imprisonments and pains suffered by the victim can also be transferred to the lost wife through Vera, who resembles his wife. Therefore, such perverse behavior can escape the normal mourning process on the one hand, and on the other hand, can also punish the dead wife and Vinterson at the same time. This rage from narcissistic injury, and the psychological defense of omnipotent arrogance, is turned by Robert's plastic technology and sexual inversion. Therefore, the skin here as a symbol of defense is obvious. Furthermore, I want to talk about another function of the skin, which is camouflage. A better function of the skin should be to act as an intermediary between the external reality and the inner world, as a buffer and coordination role. But if the protective function of the skin is too strong, it is likely to create a psychological camouflage, allowing the deep self to hide in it and not see the light of day. On this point, let us think of Robert's housekeeper Maria (actually, she was the biological mother who gave birth to Robert in an affair with her father, but because of reality, she could not recognize each other) Although the movie does not focus on whether Robert knew that Maria was his mother? The relationship between the two and Robert's obedience were no different from that of a mother and son. Or maybe it can be said that the relationship between the two is in the "pretend" that "as if" they knew they were mother and son, but couldn't say it explicitly. It felt as if Maria was a mother, but she was wearing the skin of a housekeeper. And Robert's half-brother Chica appeared in a Halloween "tiger" The rind, in order to evade the pursuit of the police, infiltrated Robert's house. Inside and outside the skin of this beast is actually the essence of a violent robber that is more terrifying than the beast, and it is almost comparable to the crime committed by Robert later. Therefore, we can also say that Chica, who was abandoned by his mother at birth, and his subsequent collapse, to some extent, also became the endorsement of Robert's inner world. Robert, too, was a child abandoned by his mother (Maria later left Robert, only to return years later), but this layer of loss was smoldering, wrapped in an illusion like a skin. I think the betrayal of his wife and the suicide of his daughter that Robert later experienced were just a metamorphosis and repetition of this loss of a mother who could neither be mourned nor be mourned. The truth cannot be seen and cannot be seen under the veil of "mental skin". And those who see the truth will die (wife, daughter). At this time, the defense of mobilization of perversion, and the narcissistic omnipotence fantasy underneath, create a plastic illusion together, in order to save the pain of this psychological extinction. Having written this, let's go back to Dr. Tsai's question: "How can the fear of extinction be eased a few times while watching this movie?" We can say that this is the effect of Robert's illusion. , not to create a sense of persecution of extinction, or to slam on the brakes to deny and defend. Here we feel that Almodovar is an accomplice. The director avoided his sensitive gaze on the truth several times in this film (for example, Vincent was about to see his castrated lower body, and suddenly Robert came back and hurriedly covered it), and then used beautiful fine art photography and music to give us anesthesia. We could say that Almodóvar was too identified with Robert's situation, and his films are like flawless plastic surgery. But also because of this, art that cannot gaze at the truth completely loses the mental process, and it is difficult to achieve successful art. (Written by Azhi on 20180320) cannot be seen, and cannot be seen under the veil of it. And those who see the truth will die (wife, daughter). At this time, the defense of mobilization of perversion, and the narcissistic omnipotence fantasy underneath, create a plastic illusion together, in order to save the pain of this psychological extinction. Having written this, let's go back to Dr. Tsai's question: "How can the fear of extinction be eased a few times while watching this movie?" We can say that this is the effect of Robert's illusion. , not to create a sense of persecution of extinction, or to slam on the brakes to deny and defend. Here we feel that Almodovar is an accomplice. The director avoided his sensitive gaze on the truth several times in this film (for example, Vincent was about to see his castrated lower body, and suddenly Robert came back and hurriedly covered it), and then used beautiful fine art photography and music to give us anesthesia. We could say that Almodóvar was too identified with Robert's situation, and his films are like flawless plastic surgery. But also because of this, art that cannot gaze at the truth completely loses the mental process, and it is difficult to achieve successful art. (Written by Azhi on 20180320) cannot be seen, and cannot be seen under the veil of it. And those who see the truth will die (wife, daughter). At this time, the defense of mobilization of perversion, and the narcissistic omnipotence fantasy underneath, create a plastic illusion together, in order to save the pain of this psychological extinction. Having written this, let's go back to Dr. Tsai's question: "How can the fear of extinction be eased a few times while watching this movie?" We can say that this is the effect of Robert's illusion. , not to create a sense of persecution of extinction, or to slam on the brakes to deny and defend. Here we feel that Almodovar is an accomplice. The director avoided his sensitive gaze on the truth several times in this film (for example, Vincent was about to see his castrated lower body, and suddenly Robert came back and hurriedly covered it), and then used beautiful fine art photography and music to give us anesthesia. We could say that Almodóvar was too identified with Robert's situation, and his films are like flawless plastic surgery. But also because of this, art that cannot gaze at the truth completely loses the mental process, and it is difficult to achieve successful art. (Written by Azhi on 20180320)
View more about The Skin I Live In reviews
