Zizek, a popular figure in the current Western political philosophy and the most important representative of Lacan's theory, talks about Hitchcock, David Lynch, Tarkovsky, the Wachowskis, etc. The director's 43 masterpiece films, the whole film is full of witty words, and the
movie is really a perverted art. It doesn't give you what you want, it (only) tells you how to desire. Zizek said. It can be seen that the philosopher and psychoanalyst is also a great film fan. In this three-part documentary, Zizek analyzes the work of his favorite director, and we will see how he put it together Philosophy, psychoanalysis and film are drilled together. The
erotic subtext is always present. Zizek claims that the characters make up the most erotic scenes in the film, and Michael Haneke's "The Pianist" is the most depressing. He also pointed to Eyes Wide Shut as an example of the extreme importance of male fantasy, "Sex, not only involving me and my partner, there must be a third party there, such as fantasy, and this element of fantasy keeps me actively engaged. "Gender relations are possible"
fantasy, anxiety, and death are all common and effective elements of Zizek's analysis, but these analyses linked to a vast and complicated theory will not make you feel boring. After watching this documentary, you will be Proud of being a pervert.
Preface
Our question is not: 'Are our desires satisfied?:'
but: 'How do we know what our desires are?:'
There is nothing spontaneous and natural about human desires Stuff
Our desires are artificial
We must be taught to have desires Movies are the ultimate perverted
art
It doesn't give you what you desire
It tells you how to desire is a film's commentary on the magical art of cinema.
There's this ordinary working-class girl living in a small, drab rural town and suddenly she finds herself in a situation where she's actually breeding magical cinematic experiences. She gets to the railroad and the train passes by, as if the reality is that someone standing by a slow passing train becomes the spectator watching the magic on the screen.
Here is a very real and ordinary shot, the heroine's inner space, a fantasy space was shot. So, despite being very real, the train, the girl, the part of her mind that was in our audience's mind was real, was elevated to a magical level. The whole shot became a dream of hers, and it was a shot in the purest form of cinematic art.
The Matrix
but the choice of blue and red pills...not really a choice between fantasy and reality
Of course, The Matrix is a fictional machine, but these fictions make up our reality. If you take away from our reality the symbolic fictions that control it, you also lose reality itself.
I want a third drug. What is that?
Obviously there is nothing esoteric, pills can give us a false religious experience like fast food, but what the pills let me penetrate is not the reality after the fantasy, but the reality in the fantasy. If something is unbearable, too violent, or too excited, it shatters with this equivalence in reality, and we fictionalize it. The first key point of The
Birds horror novel is... we imagined the same story but not the horror plot so that the background came out.
We're in the middle of Bodega Bay... This is where Hitchcock's "The Birds" was filmed. "The Birds" is a film about a young, wealthy and socialite lady from San Francisco who falls in love with a young man...they go to Bodega Bay...where she finds the young man living with his mother
"Of course I wouldn't do
it but if you take a lady
to a place like this...
darling? - what?
I guess I can do with
Melanie Daniels
as long as you know yourself
Whatever you want Mickey
I know exactly what I want"
and then a typical Oedipus mess... Mother and son incest... The son
separates his possessive mother from the intruding girl.
- What's wrong with them?
- What's up with the birds?
- Where do you want to put your coffee? - On the table,
hurry up honey. Miss
Mickey Daniels definitely
wants to go back.
We have a spare
room upstairs
. The big question is stupid and obvious...: "Why do birds attack?"
It can't be said that birds are part of the real set of nature, it's more like an intrusion of a foreign object, tearing reality alive. We humans We are not born in reality, we interact with him in order to be normal. Living in the space of social reality, many things happen, such as we are all well equipped with a set of symbolic rules and so on. In this way, we are in a The sojourn in conformity space is broken apart by reality.
So, using the theory of psychoanalysis, the bird's frantic attack is obviously the maternal superego, and the outburst of maternal identity defense. It is to protect sexual intercourse. So the bird It's raw incestuous energy.
Psycho
God I think the same as Melanie Do you know what I'm thinking? "I want to fuck Mickey" that's what she thinks. No sorry. I mean I suddenly Lost sense of direction.
We are in the cellar of the mother's house in Psycho, the most interesting thing is the special arrangement of the mother's house... The events in it take place on three levels: the second floor, the basement on the first floor. It's like human subjectivity. Three levels of replication, the first floor is: "ego" Norman is a normal son there and here he is occupied by the normal ego. The second floor is: "superego" mother's superego because dead mother...essentially It is an image of the superego.
In the cellar is: the "id", a reservoir of illicit impulses, so we can explain the event in the middle of the film. Norman dragged his mother, or the mummified corpse of our mother at the end, from upstairs to the cellar.
It was as if he had swapped places with his mother in his mind, as his, psyche, transitioned from the superego to the id.
Of course this is the old dogma that Freud has elaborated on. That is, the mother whose superego and id are deeply connected first complains as a majestic person: "How can you do this to me?
Don't you feel ashamed?" This is the fruit cellar, and then the mother immediately becomes obscene: "You Think I'm a fruit?" The superego is not a moral force, it's an obscene force that bombards us with impossibility to ridicule us. The more we follow it when we can't meet its demands, the more It just makes us feel more guilty, which is usually reflected in an obscene, superego-strength madman.
In "The Max Brothers"
we can often find examples of psychoanalysis, embodied in human relationships. Such as the comedy group: "The Max Brothers"
Groucho, Chico and Harpo. Obviously Groucho is the most popular, and his neural hyperactive representative: "Superego ". Chico is a
rational, arrogant, ever -present The scheming guy is: "the ego".
The weirdest of them, Harper, a dead guy can't talk, Freud said impulses are inanimate, he can't talk and of course he's: "id" .
The id is fundamentally chaotic, and what makes Harpo eccentric is that he is childlike, innocent and eager to be happy, to be like a child, to play with the child, etc. But at the same time there is some kind of primitive evil, always aggressive, and this absolute depravity and innocence form a unique combination, which is where the id is.
The Exorcist
sound is not an organ of the human body, it comes from somewhere inside you.
Anytime we're talking to someone, there's always this ventriloquist effect...as if outside forces are taking over.
Remember at the beginning of the film this is a beautiful young girl, how did she become the monster we see now? She Possessed, but possessed by whom? A voice, an obscene evil voice.
The first blockbuster to use this kind of broken voice, the sound drifting freely around is a terrifying existence in ruins.
"The Will of Dr. Mabus" is
a reality-distorting final moment or object of anxiety that appears in the German Fritz Lang's 1931 film "The Will of Dr. Mabus," and we don't see Mabu until the end of the film Oh, that's what he sounds like. The question is why there are two priests by her side and what to do with this intruder who is like we expect a famous scene from Ridley Scott's Alien...
Alien
duplicates itself As if we were just waiting for some terrifying alien... evil critters singled out in us, there was a fundamental unbalanced gap between psychic energies...
what Freud called: "Libido". This endless energy is beyond life and death, and beyond our physical body, that poor limited reality, which is not just a symptom of being possessed by a ghost.
What we should know, and what the film is trying to avoid, is that we are the opposite sex in control of our bodies. Humanity means the opposite sex that controls our animal bodies.
Our ego, our spiritual power is an external energy... it is twisting and controlling our body.
No one really pays attention to the traumatic side of the human voice. The human voice is not an unusually thin medium...used to express the depth of human subjectivity...but an outside intrusion.
No one in "The Great Dictator"
realizes this better than Charlie Chaplin, who himself plays two roles in the film...the good little Jewish barber and the character's evil side: the dictator Henkel.
Of course it was Hitler. This Jewish barber is of course a silent film character, silent film characters are essentially cartoon characters, they don't know death, they don't even know sexuality, they don't know suffering, they just go on with them, verbally fighting for themselves...like cartoons Medium and rats, you cut them into pieces, they regenerate, there is no limit and there is no death here.
There is evil, but a really good evil. You are self-centered, you want to eat, you want to hit people, but you don't feel guilty.
With a voice there is... deep sin within... self-blame... in other words, the complicated world of Oedipus.
The problem with cinema is not just a political problem...how to get rid of totalitarianism...the extremly seductive power. It's a more formal problem...how to deal with scary voices
or because we can't simply deal with how to glorify and change This sound...makes it express human sexuality and so on.
The German police took this poor bum, thinking it was Hitler...he was going to give a speech at a big rally.
"I'm sorry but I don't want to be
an emperor. That's not what I want to do.
I don't want to rule or subjugate anyone.
I'd like to help anyone if possible.
Jew, non-Jew, black
, white. We all want to help each other.
" A long speech that understands each other, but with one point, maybe even two.
People applauded the same way they applauded Hitler, and the music that accompanies the curtain call of this great humanitarian... is the prelude to Wagner's "Lohengrin"... just like what we heard when Hitler was daydreaming... he fantasized Conquer the world...he has a globe shaped balloon and the music is the same.
This can be read as the ultimate use of music, music in the service of evil. It can also serve the good, or it can be read as, I think, in a more obscure way, that through music we can no longer be sure because it externalizes our inner passions. Music has always been a potential threat.
"Mulholland Drive"
has a short scene in David Lynch's "Mulholland Drive"...
it happens in this theater where we're standing, and here there's a woman singing behind the microphone, and then because of fatigue or something She collapsed, and surprisingly the singing continued to remember that soon after, things were explained, which was a rewind.
But in those quarters of our doubts... we encountered a nightmarish phenomenon of partial self-releasing of objects.
"Alice in Wonderland"
Like the Cheshire cat in the famous adventure of "Alice in Wonderland", the cat in the film is still smiling. The interesting thing about partial objects is that there are partial organs that make you feel like you don't have a body...
This reflects Freud's: "death drive". Here's our great caution: "Death Drive" is not the kind of thing that Buddhists pursue death: "I want to find eternal peace. I want to..." Pretty much the opposite: "Death Drive" is a Stephen King horror novel That kind of thing is called the dimension of the undead, the living dead, that something is alive after it dies. It can also be said to be immortal, to persist, to persevere, you can't destroy it, the more you have to let go, the more persevering it will continue, this kind of thing is immortal like a demon haunted... It is what local objects want to reflect.
One of the best examples of "Hong Lingyan"
in my opinion is Mitchell Powell's "Hong Lingyan"...
continuously updated.....
---------------- -------------------------------------------------- ------------------------
The films featured in this documentary are:
Possessed (1934) Clarence Brown
Cocoon (1934) Clarence Brown
The Matrix ( 1999) Andy and Larry Wachowski The
Matrix (1999) The Wakowski Brothers
The Birds (1963) Alfred Hitchcock Flock of Birds (1963
) Hitchcock
Psycho (1960) Alfred Hitchcock Psycho (
1960) Hitchcock
Duck Soup ( 1933) Leo McCarey
Duck Soup (1933 ) Leo McCarey
Monkey Business (1931) Norman Z McCleod The
Hoax (1931) Norman Z. McCleod
The Exorcist (1973) William Friedkin The Exorcist (1973)
Testament
of Dr Mabuse (1933) Fritz
Lang The Will of Dr. Smith (1933) Fritz Lang
Alien (1979) Ridley Scott
Alien (1979) Ridley Scott
The Great Dictator (1940) Charles Chaplin The Great Dictator (
1940) Chaplin
Mulholland Drive (2002 ) David Lynch
Mulholland Drive (2002) David Lynch
Alice in Wonderland (1951) Clyde Geronimi, Wilfred Jackson and Hamilton Luske (1951) Clyde Geronimi, Wilfred Jackson and Hamilton
Luske • Jackson, Hamilton Lusk
The Red Shoes (1948) Michael Powell
Red Shoes (1948) Mitchell Powell
Dr. Strangelove (1963) Stanley Kubrick Dr. Strangelove (1963
) Kubrick
Fight Club (1999) David Fincher
Fight Club (1999) David Fincher
Dead of Night (1945) Alberto
Cavalcanti
The Conversation (1974) Francis Ford Coppola
The Grand Conspiracy (1974) Coppola
Blue Velvet (1986) David Lynch Blue Velvet (1986
) ) David
LynchVertigo (1958) Alfred Hitchcock
Vertigo (1958) Hitchcock
Psycho Theatrical Trailer (1960) Psycho Theatrical Trailer (
1960)
Solaris (1972) Andrei Tarkovsky Into
Space (1972) Tarkovsky
The Piano Teacher (2001) Michael Haneke The Piano Teacher (2001) Michael
Haneke
Wild at Heart (1990) David Lynch
(1990) David Lynch
Lost Highway (1996) David Lynch
Lost Highway (1996) David Lynch
Dune (1984) David Lynch
Dune (1984) David Lynch
Persona (1966) Ingmar Bergman
Mask (1966) Bergman
Eyes Wide Shut (1999) Stanley Kubrick Eyes Wide Shut (1999
) Kubrick
Blue (1993) Krysztof Kieslowski
Blue (1993) Kielovsky
In the Cut (2003) Jane Campion
Nude Cut (2003) Jane Camp Peen
The Wizard of Oz (1939) Victor Fleming The Wizard of Oz (1939) Victor
Fleming
Frankenstein (1931) James Whale
Frankenstein
10 Commandments (1956) Cecil B. DeMille
Ten Commandments (1956 ) ) Cecil B. Demille
Dogville (2003) Lars Von Trier
Dogtown (2003) Lars Von Trier
Alien Resurrection (1997) Jean-Pierre Jeunet
Alien 4: Resurrection (1997) Jean-Pierre •
Genet To Catch a Thief (1954) Alfred Hitchcock To Catch a Thief (1954) Alfred
Hitchcock
Saboteur (1942) Alfred
Hitchcock
Rear Window (1954) Alfred Hitchcock
Rear Window (1954) Hitchcock
North by Northwest (1959) Alfred Hitchcock North by Northwest (1959
) Hitchcock
Stalker (1979) Andrei Tarkovsky
Stalker (1979)
Kubanskie kazaki (1949) Ivan Pyryev
The Cossacks of the Kuban (1949)
Ivan the Terrible (Part Two) (1945) Sergei Eisenstein
Ivan the Great 2 (1945) Eisenstein Pluto
's Judgment Day (1935) The Judgment of David Hand
Day (1935) David Hand
City Lights (1931) Charles Chaplin City Lights (
1931) Chaplin
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