The struggle between paper and pen
every birthday, as a writer, the father always held a ceremony for Nuozi: Dip a writing brush with red ink, and write the four words Qing, Yuan, Nuo, and Zi on her little face. Words, recite while writing: When God first made a man with clay, it would draw eyes, lips, and sexual characteristics, and then write the name so that the man would not forget it. If you are satisfied with your work, God will sign his name on this person, and this person will become a real person. The word "Zi" was written on her lips. At the last line, my father dipped his finger in ink and smeared it on. Then, Nuozi turned his head, and his father signed his name on the soft nape of her neck.
When Nuozi finished the written ritual, she looked into the mirror. At this moment, the surrounding area was dim black and white, but the small face of Nuozi in the mirror turned into color in a flash, with paradoxical beauty.
Nuozi's bedtime reading is not Snow White, not Momotaro, but a "Pillow Grass", which has locked the sorrows and joys of Nuozi's life early. Mother told Nuozi that when you were 28, this book was exactly a thousand years old. Since then, it has become Nuozi's wish to have her own pillow book.
Occasionally, she caught a peculiar contact between her father and the bookseller, and Nuozi didn't know what it meant until he became an adult.
After marriage, Nuozi's love for writing and reading was mocked and ignored by her husband. On her birthday, her husband rudely refused to carry out the ceremony his father had held for her. Finally, after her husband spied on her English diary, a war broke out between the two. Nuozi lit a fire, burned her home, and left Japan to come to Hong Kong.
She befriended many calligraphers and lovers. Her body is rich and luscious. She regards her skin as the most perfect paper in the world, abdomen, back, thighs, breasts, soles... She invites them to write and sign on it. The film is full of Chinese characters and Japanese, the paper, the human body, and the projection are the oriental sentiment in the eyes of Westerners, but there is no doubt that it has a formal beauty.
Later, she met the British writer Jerome. His clumsiness made Nuozi very dissatisfied, but his proposal made her like the moonlight: she would write the pen and write on his body.
The previous Nuozi, like all women who have been branded with the patriarchal and husband's rights since birth, acted eternally and destined as the person to be written, and was willing and obsessed with being written. The similar female body Sheng is also an extreme manifestation of women as the subject.
This kind of right to write is not absolute. Nuozi is the subject of his father and husband, and Jerome and his father are the subject of booksellers. There are too many emotional and sexual rights mixed between Jerome and Nuozi. In all this dominance and being dominated, the bookseller is placed in the highest position, he is the most powerful representative of male power. With Jerome's encouragement, Nuozi turned from the written paper into a random pen to write on her pillow book.
Like his father, Jerome is also a sympathetic lover of booksellers. He volunteered to go to the bookseller with his full body of works, and the latter was shocked. However, the physical relationship between the two makes Nuozi angry, and Jerome pretends to commit suicide in order to ask for the forgiveness of Nuozi, and the falsehood turns out to be true. After the burial, his body was stolen, and the part of the skin on which the book on the pillow was written was peeled off by the bookseller.
Nuozi was completely awakened. Because of Jerome's death and desecration, because of her father's insult and defilement, and because of the resistance to the fate of the subject, she began to take revenge and truly became a pen with a sharp blade like a dagger.
One man after another became her subject. She wrote volumes of beautiful words on those beautiful and firm skin. They were used as messengers to be dispatched to booksellers one after another.
The director's use of male nudes can be described as spilling dog blood. Of course, when the viewer merges into the narrative of pen and paper, both the female body and the male body have become a tool, a carrier, and sexual characteristics are irrelevant. As revenge papers, some are thick and colorful, and some have no words on the surface, but booksellers have discovered to their surprise that they are written on the eyelids, under the organs, on the tongue, on the inner thighs, under the scalp, all hidden places, extremely Deterrence. When passionate words and pure ink and naked human body are combined, a kind of peerless and thrilling beauty is born, which ruins the will of booksellers little by little. Finally, Nuozi uses the last thirteenth volume-death The scroll completes his revenge.
After a thousand years, Nuozi signed his (or all women) name on the messenger carrying the "Scroll of Death" and ordered the death of the bookseller (or patriarch). The bookseller was willing to be sealed by the messenger. Nuozi has been transformed from a man-written subject to the power to write on his own initiative.
There is an elegant connection between carnal desire and fetishism. The pen is a symbol of male sexuality, and paper is the endorsement of the female body like white silk. Nuozi's fascination with pen and paper and the body as pen and paper is an extreme fetish. It was over thirty when Wu Junmei starred in this film, but she still boldly undressed and appeared naked. Her smooth and delicate skin bravely showed the original beauty of women as the subject, and was humiliated and damaged by this.
The change of dynasties often takes the male power as the will and the female flesh as the raft, which will pass through the generations. Xizi's body is painted with Goujian's dream of restoring the country, and Diaochan's body is full of conspiracies and turbulence in the male political arena, and it is rare to play with male sex like Wu Zetian.
Feminist film theorist Laura Mulvey believes that women cannot immediately create a world model that is beneficial to women to oppose the existing male world, but they can fight against the patrilineal language and order, as well as what it is. Deconstructive forms of manufacturing tools (such as various forms of ideology: politics, law, art, ethics, etc.) to make breakthroughs. Such breakthroughs can at least prompt women to understand their own living conditions and the male social order that women fall into. Understanding.
The ban on books by Nuozi's pillow is undoubtedly a specimen of feminism.
At the end of the film, the chant about God appears for the last time, and the recipient becomes Nuozi and his daughter. What is the fate of Nuozi's daughter's writing style / quilt style?
As long as a woman is always in secondary sex, this answer can never be optimistic.
Regarding the pillow grass
"Mushroom grass" is the work of Japanese court lady Kiyoshi Nayan in the Heian period. The author of "Genshi Monogatari", Zi Shibu, is a figure of the same era as her, but the two are their own masters. The Zhang Zi served by Zi Mai is even more important. To be favored. "Pincaozi" actually means pillowside notes. Caozi is straw paper. It is named "Pincaozi" from the meaning of Bai Juyi's "Baitou Laojian Pillow Shumian" and Ban Gu's "Tule Pillow Scripture".
"Makurako" is regarded as the pioneering work of Japanese essay literature, but in fact, it is more like a diary. Qing Shaonanyan describes the feelings of daily life in it. From the title of the article, it can be seen that it is nothing but leisure. Fun: Four o'clock fun, disappointing things, things that people look down on, surprises, evening bells in the mountains and temples, snow scenes under the moon... In the film, Qing Shao Nayan repeats "elegant things": dressed in lavender The man in the shirt with a white blouse on the outside; duck eggs; sugarcane juice in the shaved ice and placed in a new golden bowl; crystal rosary; rattan flowers; plum blossoms covered with snow; very beautiful little ones The child is eating strawberries, these are all elegant.
In the Heian period of Japan, it was okay for women to write stories, but if they were proficient in sinology, they were regarded as arrogant, because that was the realm of men, and Shikibu was ridiculed for this. But Qing Shao Nayan lives more freely and freely than Zi Nv, and often enjoys the joy of writing with his own vivacity. She said that there are two kinds of pleasures in the world, one is the joy of the flesh and the other is the joy of writing. It is so pleasant that she can enjoy both at the same time.
Qing Shao Nayan and Nuozi are separated by nearly a thousand years. For millennia, women are still under the oppression of patriarchy, and the derailed words and deeds in the established order, with their wisdom and courage to reshape the identity of the female clay puppet, are the tacit understanding of the two women in their hearts.
Pillow grass writing is delicate and moving, with a plain face and beauty. I secretly thought that Zhou Zuoren's translation was the best.
Greenway, who loves film language experiments, uses the technique of "plane montage" to adopt a form of picture-in-picture, interlacing people and things from different times and spaces in the same large plane, with varying shapes, positions, and sizes. A complex visual and structure are formed between the small picture and the big picture: For example, Nuozi and Qing Shao Nayan often experience and write their own lives in the same picture. In the continuous cross-talking and writing gestures, Nuozi seems to be resurrected Qing Shao Nyan.
The simultaneous appearance of multiple images disrupted the order of time and the barriers of space, subverted the tranquility of the bystander, and put the viewer in the same perspective as the director, indifferently watching Nuozi sinking in carnal desire and bursting out in sinking. Show the enthusiasm and anger of the writer.
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