Myths exist forever, which are the anchor points of the unconscious structure of man, the gestures of the spiritual father who represent the direction of life, so both psychoanalysis and cultural anthropology regard myths as the starting point for understanding the human community. Due to the incompatibility between the scientific age and traditional Chinese civilization, the mythical structures supporting the meaning of life are broken one by one. Seek the most basic shelter in reality. Fortunately, there are still people who sacrifice themselves to the gods in their hearts, trying to find a common anchor for wandering souls in this era.
While "Journey to the West" won the unprecedented box office of Chinese films, it also created a new myth, a real myth after the immature fairy tale in "Journey to the West", which is closer to our hearts than the Cowherd and Weaver Girl Liang Zhu. In the not-so-long history of Chinese Buddhism, there is a legend about the "lamp". The Zen method is like a lamp of wisdom that directly points to the heart. It has been passed down from generation to generation in the life of enlightened monks, illuminating all living beings as they go astray. In this woman's long night, "Journey to the West" lit a lamp.
1 Stephen Chow and his film aesthetics
Film is a real origin of modern civilization. When Edison created the material form of movies, I wonder if he imagined that what he created in his hands was also a new starting point for thousands of years of civilization. Books used text symbols to build a unique symbolic world of our species, and movies made our inner The externalization of the screen is to bet on the imagination. Today's laptops and iPhones can make us become one with this external screen. And imagination belongs to women. Psychoanalysis distinguishes the difference between men and women at the world level. This difference can be clearly reflected in the great difference between Tolstoy and Duras novels. If the symbolic world of rules, order, and meaning belongs to men , then the imaginary world based on love belongs to women; obviously, compared with books, the way of externalizing the inner screen of movies is more suitable for conveying women's imagination, and can better express the myths about women.
Zhou Xingchi wants to meet this challenge. Zhou Xingchi is a filmmaker, a complete filmmaker from actor to director. He was born in a poor scholarly family. Later, his single mother named him by virtue of Wang Bo's poems. Now he is fifty years old and has not yet married. He doesn't have many friends; much like Duras, he is reluctant to reveal himself to the audience. He openly said, "I don't think it is necessary for me to say what kind of person I am and what kind of character I am. Frankly speaking, this is not mine. Willing. I don't care if everyone cares about this issue, ... the real me, ha! I advise everyone not to know for the best, and I won't say the most truthful words, ha! Ha! ... I believe not too much Many people will like me as a person... Basically, no one has much interest. If they really like me, they are just Stephen Chow who plays different roles on the screen, and that's it."
This is him The loneliness, he also took advantage of the trend to melt himself into the works - there is no Stephen Chow outside the movies. Nietzsche has a shocking assertion about aesthetics, "Art is the highest mission of life and the original metaphysical activity of life". The preciousness of life lies in the fact that it can be an artistic creation that is anti-nature and anti-reality, and the truth has no meaning; this is the Birth of tragedy. Obviously Zhou Xingchi is such an artist, he is the sacrifice of the film, but also the soul of the film; his film creation has the basis of life aesthetics, so he is qualified to create a myth.
Before "Journey to the West", Zhou Xingchi's aesthetic masterpiece was "The King of Comedy", in which he concentrated on his aesthetic model, that is, judging ugliness. There is an anime scene in "The King of Comedy", a piece of shit washed away, shit always has to be excluded, this is the clown actor himself, and also a prostitute. However, when an actor with nothing rushes out of the door, rushes out of the door of this world and shouts to the prostitute "I will raise you!" A new world is born. In this deep compassion, there is a revolution. Only the dignity that cannot be lost by prostitution can make a person become a human being. This dignity needs at least one person to admit that there is nothing that can make people lose this dignity from an actor whose life is not a drama, but a drama that is life. Lacan said that women do not exist, and when a man finds a woman, it is like going to the toilet, and prostitutes take the position of truth, the position of excrement and urine; this is the cruel aesthetics of psychoanalysis. But in "I raise you", women don't need to meet any conditions, so do actors. In this small world, nothing is excluded, women exist; there is no need to wash away anything, I am a piece of shit, okay, because the world Big shithole. Zhou Xingchi said in Chai Jing's "Seeing" that those heroes who seem to be lofty are always fake, and he wants to show something real; it is a pity that people's fragility is not what he wants to see, the tragedy of clowns and prostitutes. Is the premise of other people's experience of happiness, "The King of Comedy" just wants to say, if there is beauty, then beauty is here. From Nietzsche, Sartre to Lacan, several men who challenged their fathers are drawing something pure for the world. A soft and ugly truth like shit, with which we have to revalue everything to understand life. For this realization, Zhuangzi affirmed with a poetic roar: "The Tao is drowning in shit!" Xing Ye understood all this very well. In his aesthetics, judging ugliness is everything.
"The King of Comedy" is just a daydream. Only those who live in the dream can subvert reality. The throne needs a deeper and stronger creation. In the two "Journey to the West", Zhou Xingchi portrayed an adult fairy tale. Sun Wukong, the god of freedom, can neither set himself free nor save his lover's life. He can only watch the mirror image of himself in the final journey and perform it again and again. Comedy, unfortunately the drama of life cannot come again, and the moonlight treasure box is useless; in the story, it is women who are always free, women pour their lives into the bet of love, farewell, death or family are all achievements, anxiety is always left to no choice The "free" man, these women are fairies. This kind of fairy tale is obviously suitable for the diaosi in the university, and it is the diaosi who kept this fairy tale.
In the story of "Journey to the West", there is a very strange witness, Tang Seng. He is unmoved by the world and is determined to travel to the west; he understands Wukong's suffering, and has always been "only you" to him; he only has a slogan leading to the root, "What joy is life, what pain is death". With this deep understanding, "Journey to the West" returned to its origin to reshape that starting point. Fairy tales have become the myth of our era and our group of Chinese. From then on, Xing Ye deserves to be the king of comedy.
2 The covert original scene The
original scene is the starting point of the psychoanalytic aesthetic. How does a child who witnesses a parent's sexual intercourse put it all together, including himself? This is the primordial scene, a point of origin that determines the structure of relationships throughout life, whether it actually happened or not. The so-called incest taboo is nothing more than an acceptance and protection of the fait accompli of the difference between the parents and themselves from the child's perspective: since I (the child) cannot, it is right for the parents to do so without me. Obviously, such a taboo is only a kind of protection, a kind of defense, so when King Oedipus self-destructed his eyes and wandered in Cronus, he appealed to the gods and the world for his innocence. At the end of his own life in Antigone, he stepped into the underworld alone: living in the dead, which is a heroic answer to the original scene or rebellion.
The primal scene is such a real trauma, it is always there, and behind all trauma there is some primal scene. The story of Journey to the West is the original scene of our nation.
The origin is bleak. During Xuanzang's journey to the west, the risks in that era were far higher than those of today. During the five-century westward journey of Buddhist scriptures, from the time when Buddhism entered China to the century after his annihilation, there were more than 170 monks who were recorded in history and returned alive. Only 43 people. In order to fulfill his long-cherished wish, he had already practiced the immortal path before leaving, drinking water, eating grass, and not being invaded by animals. Even so, on the way to get the scriptures, he has experienced hardships like Jesus being trapped in the desert that can only be chosen by God, and it also includes life and death such as imprisonment in a small country, betting on fate and debating scriptures. When he returned to his hometown, the happy ending of "Journey to the West" was as short-lived as the ending of "Journey to the West". To this Prometheus-style archmage, Tang Taizong revealed his brother-killing bottom line. After trying to make Xuanzang return to the world and submit to him unsuccessfully, he put Xuanzang under house arrest who was trying to complete the recast of Bodhidharma. By his side, he had to let his son continue to place him under house arrest when he died, so Xuanzang died and did not return to the Shaolin Temple, and did not ascend the throne and hometown that belonged to him at that time.
A more bleak story stems from the reality behind the fantasy of Journey to the West. Sun Wukong made a riot in the sky and won. Only the Buddha can do anything to him. He is under the Wuzhi Mountain. Only the Tang monk cooperates with Guanyin to convince him. What a wonderful fantasy, it is a pity that the parents of this spirit always face reality fragile. Among Xuanzang's disciples, the most important is the monk Debating Ji. The inheritance of the translation business mainly depends on him. He also wrote the prototype of "Journey to the West", "The Story of the Western Regions in the Tang Dynasty". The princess is fine. The Buddha's world was very tolerant to him. Later, Xuanzang, who inherited Xuanzang's Wisdom Sect, was recruited as a disciple by Xuanzang when he refused to give up female sexuality. Naturally, the debate machine would not be expelled by Xuanzang because of this, but it's a pity. The "Jade Emperor" did not give the Buddha face at all, and even the purpose was to convince the Buddha and cut off the argument. Xuanzang broke his wrist like a strong man. Xuanzang was only sixty when he returned to the west. After fourteen hundred years, Xu Yun, who inherited his mantle and mantle, had doubled his life, but he left alone.
But what really made Xuanzang the original scene of our national culture and created his Oedipus-style tragedy was his afterlife. Since ancient times, gods, monks, and immortals have been versed in ghosts and spirits, and I think Xuanzang must be like this. In addition to the scriptures, Xuanzang brought back orthodox Indian Buddhism, Yinming, yoga, Alaya consciousness, five surnames... Xuanzang used the skills of the only Sanzang master in the world to introduce the concept of consciousness-only. Zong, what a pity, what a pity, it is a pity that ten years after his demise, Huineng was promoted to the throne in the south, and the Wisdom Sect did not have the "Monkey King" debate, and the remaining "Pig Bajie" was too honest, and passed Xuanzang secret to him. The truth of his five surnames was brought out to compete with Huineng's booming era. He said that there is a kind of person who will never get up in the cycle of reincarnation and never become enlightened. Therefore, the world will always be like this, and the world of Buddhism will never come. This is the truth, so it is shit, and those who shit must die; at that time, Jingji was besieged by the Buddhist world, and the four generations of the Wisdom Sect perished, never to future generations. Only in the Republic of China did they become scholars who lost their status topic. Xuanzang translated countless sutras in his life. Due to the orthodox translation and his choice of Consciousness-Only sect, his sutras have been shelved because of the inconsistency with the pure land of Zen Buddhism and the incomprehension of the translations. The Zang version of the scriptures has only the shortest Heart Sutra and the Medicine Master Sutra which is recited under special circumstances. Looking back at Xuanzang after thousands of years, the king of Oedipus, who had already ascended to the world of gods, seems to be using the Chinese Buddhism forged by his own sacrifice to tell the truth conveyed in the only remaining scriptures:
Bodhisattva! Except for life.
That's why the sky is colorless.
3 The Myth of Women
From "Journey to the West" to "Journey to the West", Zhou Xingchi tried to reconstruct this original scene and give us a new structure of the unconscious content that has changed in this era, and he did it. This is a tinder prairie fire.
If there is no woman, father and son can only have a brutal confrontation in the war for mother, conquering or destroying is tragic; so there needs to be a woman in love, it is she who makes the whole original scene sexed, in the face of freedom, incest is not exist. Is the debater wrong? "Journey to the West" answers this question in turn. If the debate machine dares to take the risk of the world and break the ban, it is not only a commandment, but also a crime of life and death, then at least there should be some love, so Fairy Zixia loves the supreme treasure. If Dean Ji should die, if Sun Wukong's Kong is a refusal to love, Zixia should die. But if we enter the world of Westward Journey of Dahua, and witness the birth of Zixia, the innocent goddess of liberty, with our gaze, then a more cruel question will come: if Zixia is not worthy of death, what about man's will, law, and God? ?
No wonder the Tathagata said all kinds of evil and adultery were the first, no wonder God blamed Eve for the original sin, a man wanted a woman, but a father did not, and a father and a woman could not coexist. God dies, and then revaluates all values so that women can live. However, the father's law is forged by men with their lives, and women's freedom must be sacrificed equally if the law is to be disintegrated. After all, the best things are the most expensive, which is more basic than Lunchang. Gong Linna thought that Fahai didn't understand love, which only meant that she said grapes were sour because she couldn't eat grapes. She really didn't need any love to play with an old western child. Fa Hai is different. He understands that women do not exist. Real women are not humans, but demons. Bai Suzhen is such a woman. His father is always the guardian of incest taboos. His love is to guard his fragile son with harsh law and strength. Keeping sons away from the inevitable destruction of real women. Therefore, a man's love has a premise. It is in this world that Xu Xian's father and son's sacrifice of life has crossed the trauma of the original scene. The imaginary destruction collapses in the real destruction, and the lock of incest taboo can be opened. When men trudge through this kind of love, a woman is no longer a human being, she has incarnated freedom, became a god, and shattered everything. The legend of the white snake is the "Faust" in Chinese history.
Humans and demons, monks and women, sons and mothers, the ethics of desire in the legend of the White Snake is the subversive key that guides us into the core of the original scene. Only with this memory can we understand Journey to the West.
Miss Duan doesn't look like a woman, that is to say she has nothing to do with the woman created by men with lust, she is an exorcist, that is, a witch, she is the kind of woman that men fear and rely on, showing the true face of a woman . A woman like her bore the sins of all beings on the other side of the earth, and used her innocent and innocent body to pay homage to the souls of the black death at the gallows and the stake. Witches live with ghosts and gods, and carry the imagination of death in people's minds, and they must also carry death itself when the real impact comes, so they become two sides of the same body with monks, living in the truth of life and death. Witches don't have as many senseless fantasies as normal women, and the same obscene shaping of men is naturally irrelevant to them. Wealth, status, power? This is not as brave as going to hell with a nursery rhyme. Then love begins naturally, and only in this beauty of purest desire can love begin.
The problem is the fundamental rift between women's hearts and men's hearts. Men's abandonment of their own happiness is the premise of their own happiness that women seek. This paradox will not be resolved because both parties are useless about their own life and death. . For a woman at this moment, there is only one way to become a mother, which is the case with Miss Duan. Therefore, love has nothing to do with her own happiness.
A very special Chinese-style original scene was born: the father who gave up his happiness is gone, the woman wants to be a mother by the man of her father in order to follow the man she loves, and Sun Wukong can only be an orphan. What can the child king be like? His freedom is destruction, his desire is a call, and his action can only be mother-killing. Burning the lotus, killing Miss Duan, he just wanted to shout in a sarcastic way, Buddha, father, where are you? In death; it is not God who dies, it is death that God is, and it is no longer the imaginary father's name born at the moment of death. It is the death of a woman in love that resolves the paradox between the witch and the monk. There is no 10,000 years in love, only a moment, only "now". In the Shurangama Sutra, the Buddha drank Ananda at the "now" where Ananda and the modern-day girl fell in love, and made him realize that "you love my heart, I pity you" between men and women is nothing but lewdness. When the father expelled the woman, Ananda could only be a son. But in "Journey to the West", the "now" where life and death are on the line, a woman uses her life to get her man back in the hands of her father. When Xuanzang bids farewell to his father's law, he bid farewell to his imaginary father. He became enlightened, and the man himself became. Father. This father is no longer the violent and frightening father of the free orphan Sun Wukong. This father, because of his love for women, was able to pass on the mother's soul to his son in the abyss made by King Kong, which gave him that True freedom to live and die. Through this remodeling, Master Xing put forward his position in the final scene: Maitreya is the Buddha of the future, and the present era is the future compared to classical Buddhism. It is the truth that Xuanzang finally said - "The love of men and women is also included in the so-called great love. The love of all living beings is love, and there is no distinction between big and small." This remodeling based on the present is also history. The real Xuanzang complained that the love career of women and the never-ending reincarnation of most people are the truth, and the judgment of love and the nirvana of all living beings are all illusions.
In Chai Jing's "Seeing", Zhou Xingchi sits there, very weak and sincere. People speculate why he played all the roles behind the scenes but not any, I think he is entrusting the funeral, in his own words, "time is running out", if his previous problem was that Jiang Lang was exhausted, then the current The question is the life and death inscribed in his grey hair. After Rilke completed "Duino Elegy" and Kieslowski completed "Blue, White and Red", they both passed their fifties and passed away soon after. Star Lord is facing the same torture alone. . marry? When people can only see the brilliance of Zhou Xingxing and want to seek father-like protection from him, who can bear the charm of Miss Duan who is like a mother in Xingxing's heart? The brilliance of fame only deepens the rupture, the stars turn into stars and gallop on the road of pedestrians, become a monk, and sing nursery rhymes for the Yiren on the water side.
Sing what? The song is that both men and fathers have nothing, and the rich is always a woman, or the goddess in a man's heart. The Horcrux goes from the woman's wrist to the man's finger and then to the top of the son's head. The symbol of woman becomes the support of divine will, and love and A mother's love is united in compassion. When Xuanzang's pain is the pain of all living beings, the moment of a woman's self-achievement is liberation, there is no need to ask any more, the rest of the way is only to continue this lamp in the eternal return of the six realms of reincarnation, this lamp can only be achieved by a woman like Miss Duan The lighted lamp of freedom is what the walkers of our age are going to pass on.
"Cloud Atlas", which is roughly the same time as "Journey to the West", also tells a story about freedom and the goddess. In the final sextet, Xingmei, who later became a goddess, said to her first believer before she died, "Death is a One door, when it closes the other one opens, if I were to imagine heaven, I would imagine that door opened, and behind the door I would find that he was there, waiting for me." Zhou Xingchi finally stayed First-hand, related to this, probably to leave the confidant to solve the mystery and smile knowingly. Will Miss Duan go to the heaven after Zhicheng's death? The six paths of reincarnation and karma were unhappy. She would keep her Horcrux wherever she was. When Xuanzang and his disciples were on their way, she had already switched to the White Dragon Horse and had to wait for him in front.
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