Note

1.Dream

We escape into dream, to avoid a deadlock in our real life. But then, what we encounter in the dream is even more horrible, so that at the end, we literally escape from the dream. It starts with, dreams are for those who cannot endure, who are not strong enough for reality. It ends with, reality is for those who are not strong enough to endure, to confront their dreams.

People flee back and forth between reality and dreams

2. enjoyment of sexuality

The true enjoyment is not in doing it but in telling about it afterwards. Just arousing the fantasy and then rejecting the act results in utter psychological devastation. It is a case of a mental rape which can be worse than physical rape.

3. Anxiety

The only emotion which doesn't deceive is anxiety. So the problem here is we able to encounter in cinema the emotion of anxiety,or is cinema as such a fake?

4. Evil gaze

At the birds, the shot which taken as a neutral, God's view shot, all of a sudden changes into an evil gaze. As if we are forced to act as a doll, as a tool of another evil divinity's will.

5. Hitchcock

In Hitchcock, we have the motif of a person hanging from an abyss by the hand of another person. It's wrong to look for a common, deeper meaning. Some French theorists claimed that what we are dealing here with is the motif of fall and redemption . I think that what we are dealing with is a kind of a cinematic materialism,that beneath the level of meaning,spiritual meaning but also simple narrative meaning,we get a more elementary level of forms themselves,communicating with each other,interacting,reverberating ,echoing,morphing,transforming one into the other.

6. Paternal figures in David Lynch

I think that these ridiculous paternal figures are the ethical focus, the topic of practically all Lynch's films. (that's true) so these excessively ridiculous paternal figures, it's not simply that they possess phallus, that they have phallus as the insignia of their authority, in a way, they immediately are phallus. And the provocative greatness of these Lynchian, obscene, paternal figures, is not only they don't have any anxiety, not only they are not afraid of it, they fully enjoy being it. They are truly fearless entities beyond life and death, gladly assuming their immortality, their non-castrated life energy.

7. The law and judgement

The law is not only severe, ruthless, blind, at the same time, it mocks us. There is an obscene pleasure in practicing the law. Pluto's judgement day, a truly Stalinist political trial. Stalin who personifies communist austerity, terror and musicals. The answer again is the psychoanalytic notion of superego. Superego is not only excessive terror, unconditional injunction, demand of utter sacrifice, but at the same time, obscenity, laughter.

8. What's the source of chaplain's comic genius?

It's being mistaken for somebody or functioning as a disturbing spot, as a disturbing stain.

9. Love in city lights

A poor man who loves a beautiful blind girl. This is the metaphor of our predicament. All too often, when we love somebody, we don't accept him or her as what the person effectively is. We accept him or her insofar as this person fits the co-ordinations of our fantasy. We misidentify him or her, which is why, when we discover that we were wrong, love can quickly turn into violence. There is nothing more dangerous, more lethal for the loved person than to be loved, as it were, for not what he or she is, but for fitting the ideal. In this case, love is always mortifying love.

Love always suppresses love

lover = love yourself

It took me several days to watch this movie, and one of the important reasons was that I was inexplicably nervous when I listened to Žižek, and I couldn't even breathe, which made my comprehension half a beat slower.