[Killer's Feminism] ——See "Violet and Daisy" Text/Empty Words In the film "Violet and Daisy", Violet and Daisy are two female killers in their beautiful years. But they do not conform to the masculinist set of killers: calm, cruel, and decisive. They are not like killers, and they can probably reflect the incompatibility between the two characters and the killer profession from the flower language: violet means lasting beauty, natural; daisy means pure beauty, naive. However, this kind of incompatibility or inconsistency can be regarded as masculinistic prejudice, and the violets and daisies in the film, as "professional women", are resisting masculinistic prejudices with a feminist attitude. In a masculine society, women are considered unsuitable for most occupations other than family management, and killers are one of them. One advantage of violets and daisies as killers is that they don't look like killers because they are female. In the film, Violet met the gangsters who robbed the shop when they were going to buy bullets. After these gangsters were subdued by the police, a policeman asked Violet if she was injured. The policeman did not suspect that she might be a member of the gang. . Similarly, the so-called gentleman clause of "ladies first" actually contains this meaning: exclude women. Women encounter "professional discrimination" in a masculinist society, just as Daisy in the film said, "As a professional woman, everything will be a test." In addition, as female killers, they will also be "sexually harassed" by male killers. The root cause of these experiences for women in the workplace is, far from speaking, the natural difference between men and women, and more recently, it is the jungleization of the workplace, or the de-familyization of the workplace. When women leave the family and go to the workplace, they leave the comfort of the family and enter the environment of hunting and being hunted. The so-called "going to the countryside", at this time they need to behave "like a man." Feminism means rejecting prescribed fragility in society. ... Like many such films that show psychological content, the killer as an identity does not have a macro-social and ethical significance. Killing is one of the most natural survival activities, especially in the sense that killing others can get comfort. Killing is a primitive work, it is the same as survival, and this identity is just like the meaning of the word "struggle for survival". In this film, killing is just the way of life for Violet and Daisy. They are not cold-blooded, on the contrary, they are caring. They just perform the task to kill the people who should be killed, and try not to harm the small animals. This does not seem "perverted". Probably to them, every survivor is equal. And in order to avoid being swayed by emotions, they will not communicate with the slain. They become killers because they lack the support and comfort of their families, and they can only face their own survival independently in the primitive profession of killers. Of course they can get comfort from each other's friendship and a sense of presence, but since people are inherently untrustworthy, friendship can only be maintained in an adventurous mentality. This is manifested in the fact that in the film Violet and Daisy perform a killer mission together, and then Violet discovers that the naive Daisy has been using empty bullets and has been pretending to shoot without actually killing anyone. Daisy's approach is quite risky for their killer career. Although the film has a clear "feminist" meaning, its plot encounters "paternal love". In the film, Violet and Daisy, who lacked family comfort, assassinated a father, and he did not resist when he had the opportunity to kill the two innocent killers. The father wanted to die. The reason for this is that this father has lost his family and himself, and he no longer expects the comfort of losing his family. What he hopes is to erase his own existence from the world. This is driven by death. Libido tries to attach the object of objectification to itself in the individual’s life will. When Libido’s intention is met with insurmountable setbacks, the individual’s desire to become the subject is shattered, and he can only pass through death. Return to the original nature. We can regard this father's death drive (death mentality) as a reflection of "chivalry", even if this reflection is negative. Because this father lacks a "female lord" and lacks the meaning guaranteed by the natural image of a woman, this father, a man, will fall into the anxiety of "non-existence". On the other hand, this father also brought paternal love or a sense of family to the two female killers. From then on, we can vaguely see the unreality of "feminism". In the masculinist social concept, the father (male image) is the guarantee of the family order. The ideal father allows the family to be maintained in accordance with rational instructions. He not only provides strength, but also should be tolerant. Although the father in reality is certainly not ideal, the image of a rational father is not opposed to emotions. The image of a rational father is not like the transcendent "God", who is indifferent to human suffering and only cares about his rational planning; on the contrary, the image of a rational father should provide comfort. As far as feminist social concepts are concerned, such male images should not be rejected either. ...
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