When the protagonist George, played by Dujardin, got the key to the room-a fox paw, "Deerskin" still seemed to maintain Quentin Dupieu’s absurd style of "destroying everything". As a viewer, we look forward to it It leads to an unusual space: either like the chaotic dreamland in "Reality", or the office where it rains heavily in "Wrong", or a rubber tire rushes out of it and crushes this ridiculous person. Smash.....
However, in fact, we were wrong. With the difficult "unlocking" came an ordinary wooden room: only a mirror, a bed, a lamp, and a ceiling fan... the disappointment of the viewer implies , "Deerskin" is by no means a kind of "unreasonable" pure happiness. Under the surface maintained by absurd motives, a certain and serious core is being formed-at least for the director, it is a more serious self-analysis. .
One: Deerskin Fever, and camera paranoia syndrome
"Deerskin" revolves around two unrelated symbols: a deerskin coat and a handheld camera. When George bought the leather jacket, the seller gave the camera to him. These two unrelated symbols were given In other words, we can regard these two separate symbols as two symbol systems: the fashion system and the image system. They have a common receiving organ-eyes (vision). Vision is a hegemonic driving force. Under the gaze of the other, desire is formed. When George stands in front of the mirror, he obtains a new way of self-identification-placing himself in the position of the other , And then return to itself from the mirror.
Just as fellow Lien Gray or Narcissus saw his face in a portrait (lake) for the first time, all narcissism can be regarded as a desire for others; since "Deerskin" is still an absurd drama, So let's not give pointers to his clothing and aesthetics for the time being. In short, for George, what he first discovered, or accidentally broke into it, was a unique image, and then he learned from this image Recognized myself...
And this is exactly what fashion as an industry and even the entire advertising industry want to sell to us. It encourages us to recognize ourselves from the dazzling "image in the mirror" and recognize this uniqueness to cover up its surroundings. Paradigm is largely copied, the fact that industrialized production, replaceable pseudo "personality" has become a part of social discipline: we are required to "be ourselves", young people are required to "keep alive", but in the fashion code system , "Self" is constantly disappearing, we are becoming more and more like a non-existent abstract person.
This is quite similar to another symbol of "Deerskin": the camera. The increasingly convenient camera brings everyone infinitely close to the "author". It corresponds to the contemporary "mummy complex". Bazin uses the "mummy" as a metaphor for image pairs. The reality is preserved to the greatest extent, and here, the main characteristic of this mummy is virtual . Through the gradual "real-time" scanning, recognition, and editing of the image, the body loses its strength and accelerates its decay process.
The approach George chose was to destroy the repeatability of fashion, that is, by ironically convinced of the illusion text, to make it "on its own" to tell the contradiction. For the deerskin coat, Fever means obsessed with outdated fashion symbols. The images that are obsessed with are also outdated DVs with worrisome picture quality. They no longer bear the "garbage" and mosaics of fashion symbols, and the "barren" images with noise will eventually be Shocked again into the illusion of the media.
two. I know, but...——Martyr's narrative and ultimate narcissism
George finally "choose" to destroy this repeatability, and also chooses to kill for the completion of the "movie" instead of being "implied." The depth-of-field lens juxtaposes two "people", and the composition position and focus changes brought about by the up and down movement of the camera replace the traditional forward/reverse shot lens. When the "buckskin" speaks, the face of George in the foreground becomes virtual. Shadow, but you can still see his facial movements. If Du Pio really wants "buckskin" to become a character, then he will use voice-over, and if he wants to make the audience aware of this virtuality, then in Buckskin When "talking", the camera will suddenly pan to (or cut) George's face.
The absurdity of "Deerskin" does not only come from the anomalous content on the screen, but also comes from the fact that the viewer finds that his perception is stuck in the middle zone similar to this funny character, and the plot is based on "I know, but ....." The premise is running in an orderly manner. Buckskin is nothing, at best, it is a mask that loses its function of "masking identity". What this mask can cover can only be from the moral law of the superego; the film can be roughly divided into two identical structures, which is quite similar to drama Or the "rehearsal" and "performance" of the film: In the first part, George followed the "order" of the deerskin coat and snatched the leather jacket of the group acting in the name of filming. In the second part, the order came from the female bartender. It is the instigation of the so-called "editor"-to "take more shots", so as to kill; under the cover of buckskin or the heroine, he opposes the "host" as "guest", and his identification with the image is It provides a peeping platform for the ultimate obscene fantasy, or it is a dead letter but a very practical guarantee-do it quickly, because I ordered you to do it, so you will not be punished.
But "Deerskin" is still narcissistic. At the end of the film, starting from the moment George was shot, Quentin Dupieu just ended his self-analysis and fell into a true sense of narcissism. Among them, therefore, the director perfectly presented the ultimate confrontation of "I know, but..." in front of the law in a practical way: the end of life does not represent the end of the narcissistic complex, in the form of a martyr It is always tempting to accept punishment. Therefore, from this perspective: the adversary cannot actually be defeated-whether it is a cruel neonationalist or a radical fundamentalist, death as a "martyr" becomes The last link to prove the legitimacy of his own ideology, for Dupieu, at the end of the film, in the "Easter Egg" after the credits, his face once again appeared on the TV screen as a kind of idolatry. The absurdity, and the lie will become the truth under the blessing of the epic.
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