Lars Von Trier_This house was made by me_2018
7.5
Nietzsche said in "The Science of Pleasure" that "poison" is a name given by the weak, while the strong do not call it "poison". In my opinion, the general meaning of the film is similar, but more concrete. God created the lamb and the tiger, and it is the nature of the artist that the tiger eats the lamb. It is not a private work like many people say. On the contrary, its struggle is very simple against the general public, with a very simple theme, in content and form, with Sarah Kane's avant-garde "face to the drama" and Eisenstein's vaudeville montages inflict double violence on the audience, disturbing and immersive at the same time.
Cowardly people can't make art. This should be used to praise director Lars Von Trier. This film probably covers more, religion, politics, military, and culture, but overall it is still seven or eight of the same coin. face. "Building a house" refers to the process of forming the entire social value system. The film uses inhumane values as an example to simulate how human beings are disciplined by the sophistry of mainstream society or mainstream religions, giving this set of values at the cost of offending the audience. The rhetoric is very contagious.
No matter how the image of the serial killer is placed in any story, it will remind its social or historical causes, and in this film we have no idea about this since Jack wakes up because of the first case, how to choose a victim such a common serial killer requires. The motives for explanation are all ignored in the film. For example, when he said "Don't look at the axe, look at the works" in his confession, he personally only emphasized those cold knowledge. We think that abnormal values are "created", another possibility is that they exist directly. And common sense and fairness are completely meaningless from his standpoint, just as we now view those opposite values as completely unreasonable.
At the same time, it establishes a clear dividing line between objective knowledge and the illusion of positive value, and thereby redefines all common sense and aesthetics. Gothic pointed arches replace round arches, the core of the building is stability, and the material has its own will. Art is everything, he measures the position and stabs her in the chest in the second case, the perfectionistic paranoia displayed when cleaning up and taking pictures, the deer hunting sequence in the third case, the breast line in the fourth case. Speer's theory of relic value, the ruins are more perfect than the building itself. The landing gear's siren, Jericho's horn. Based on this, the film says that only value can define absolute knowledge, that value is an illusion, and that humanitarianism is something you believe in, not what you know, but you believe it stems from social discipline. The whole story of Jack's twelve years is presented in a layered structure of nursery rhymes, that is, the real words added by Jack turning over the cardboard in front of the red car during the transition, which are presented delicately and meticulously.
A large part of the formation of the mainstream of the so-called freedom, equality and fraternity of the human rational kingdom of Western civilization as ethical principles and moral norms stems from Christian dogma. But the antichrist value is established by Jack in sophistry. Sophistry is rationality. It recognizes the beauty of decay and fetishism, and desire destroys valuable things. The lines say, "The words are very clear, take care of us and create the boundary between good and evil, and carry religious meaning. Religion denies tigers and leaves lambs, and we become slaves without knowing it." But when this value system was established, it was just as boring as the mainstream value system. He described it as walking under various street lamps. For twelve years, he fell into this exhaustion cycle, although he was still proud of it. .
Fudge helps Jack build the house, although it's not quite believable that this absolutely anti-human core value is sketched out. "Old cathedrals often hide their greatest works of art in their darkest corners, which only God can see," Fauci is the one who sees and who constantly reminds viewers of Jack's sophistry. In the opening he said that it is difficult for people not to speak, but not everyone has a high enough rhetoric. Jack is not all the people he describes, the cruelty is entirely to fill the desires of personal creation. What does Glenn Gould have to do with this? "He represents art."
Jack's derelict, unethical, and depraved customs are based on simple reasons and complex theories of artistic creative impulse. The dark side of his creation is the bright side of Fauci's ethics. There is no objective hell, it depends only on the judge or the judge people imagine. Likewise, there is no such thing as a natural art, but the next artificial art is attached to the previous one. Beauty must contain weird and distorted parts, and the paranoia of perfectionism when treating art is actually a thirst for knowledge. But the artist should not directly pursue the distortion, but should first pursue the real, fully real and then make it naturally distorted, just like the process drawn by Mori Masahiro's Uncanny Valley Curve. If we trace back its origin indefinitely, as Yumeno Hisakusaku said, "born out of the evil of society".
Many weird and perverted aesthetics originate from the inherent evil of social structure. Unity has the aesthetics of unity, loneliness has the aesthetics of loneliness, humanity has the aesthetics of humanity, and the Nazis also have the aesthetics of the Nazis, no matter which one is quite artificial. The boundaries between reality and art are also gradually blurred. "I was wondering if you were a serial killer" thought he was joking, and then he really became a killer; he didn't think it was wrong when he suffocated, just thought it was a flirtatious method, and he was immediately strangled; told the police officer that everything the woman said was Really, the officer said you two should stop drinking so much.
This film is a medium about art, with reflexive referentiality, and it mocks the so-called art. First, art is sophistry; second, art is depravity. The perfect work in Jack's eyes is the door that leads him to hell, and that's where the unloading of the story takes place. In this part, apart from the visual and auditory spectacle of juxtaposition of childhood and dead space in time, there is no deep meaning to show, and it even confuses the original narrative structure, which is very regrettable.
Form, a collage-like cut that has been unacceptably expressed by many, bears the distinct core of Eisenstein's vaudeville montage concept, creating aesthetic violence with elements divorced from the reality of the plot. Montages that perform ideographic addition are the exact opposite. One of Andrei Bazin's assumptions against montage and in favor of real cinema is that, in the final analysis, the form of cinema is the art of "eyes" rather than "hands", passive art rather than participation art. Opposition to this assertion is rampant. It is of course simple to attach a PPT movie label to them, but the overall utility of the film will not be different because of this, especially in today's world where art is becoming more and more conservative. Movie fans may have seen it often, but the public really needs this kind of work more.
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