How to identify the imaginary part of the "real" reality? How do we think that the self-injuring person is not only escaping a "perceived unreality" when he self-injures, but also "the artistic virtuality that persists in life"?
Harnick's film helps us explore this complex question. Once upon a time, there was an old story that said: "The girl who is conservative and repressed ends up in the old legend of her own piano teacher." Merry, twisted like a pervert. Outcome: The teacher commits suicide.
In response to the boy's love for him, the teacher "repressed by his mother" and "strongly abstinent" wrote a book, listing his desires. This desire to resort to words is always too traumatic to announce face-to-face, she can only announce it in the form of a letter, and the content of this announcement is exactly what the nun felt in her heart. Deep illusion.
A certain inner grasp: in him he is the object of the beloved, the object of emotion and desire. In her, it is tasteless and indifferent.
And after she's finished showing his lust vision, he panics and escapes. But he was unconsciously attracted by her vision, and he began to enjoy some kind of pleasure, some kind of transgression of (her) restrictive laws, and started to get overly excited. He not only slapped her, kicked her, whatever Make love to her without hesitation. The sex that followed was not pleasure, but pain. This kind of pain is not only given to the teacher in the narrative, but also to her mother who "peeps in control", and all the viewing groups who "peep".
For the teacher the sex had happened and ended, but for her it never happened, because the phantasmagoria that served as support had completely collapsed. This eventually led to her suicide.
She thought that the "phantom" she showed would allow her to resist normal sexual behavior and not enjoy it. This is a fallacy, however, that the vision she exhibits constitutes her "essence (source)", which she is completely grasped by, and that only normal sexuality resists the vision she produces.
However, in the issues discussed in this film, the abused seems to be providing the abuser with a law that can be violated. Although the abused is suffering and enslaving, it is they who really make the rules. It seems that the teacher's request is to use herself as a tool for him to play with, but in fact the desire she reveals only makes us, and him, anxious.
——Let's leave this movie after here.
For example, after you did something wrong, you confessed to your parents and asked them to beat you. In such a scene, the perpetrator (violence is originally a kind of pleasure) will be extremely anxious. You beat yourself up in front of your boss, who obviously can't enjoy it, but only creates anxiety.
The impression that arises from this is that for a certain historical trauma, we cannot remember him or forget him (even some cannot be remembered at all). This kind of thing will firmly "buckle" you, chase and bite you, and make you flash back to this trauma at any moment. So what you need to do is keep this trauma firmly in mind, and in order to illustrate this, you need to introduce a concept: the opposite of being is not non-existence, but insisting on being, striving to be.
Due to space limitations, the description is not expanded here. Returning to the opening question, this escape from self-injury (returning to the film) is embodied in the narrative of vision and sexuality. Illusion is a kind of self-righteous passion for reality. This kind of passion seems to be pursuing reality, but this pursuit is a false artificial, and the essence of this pursuit should be grasped as reality. escape.
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