Author: Slavoj Žižek ( The Fright of Real Tears: Krzysztof Kieslowski Between Theory and Post Theory )
Translator: csh
The translation was first published in "Iris"
In the summer of 2000, a disturbing advertising poster appeared in all major towns in Germany: it depicts a girl in a sitting position of about 20 years old, holding a TV remote control in her right hand, and she uses a Obediently stares at the viewer in a provocative manner. Her skirt did not completely cover her slightly open thighs, so people can clearly see the black area between her legs. The words "Buy me!" (Kauf mich!) are attached to this huge photo. So, what is this poster selling? If you look closely, it is obvious that this poster has nothing to do with sex: it is trying to attract young people to enter the stock market and buy stocks. This poster produces a certain effect on the basis of the pun image. The first level of impact it has on the viewer is to force the viewer to buy the young girl (on the surface for sensual pleasure), but This influence is replaced by "true" information: she is the buyer, not the one being sold. Of course, the propaganda efficiency of this poster depends on the initial sexual "misunderstanding". Although it was later replaced, the viewer eventually perceives the meaning of "true", but this misunderstanding still reverberates in the viewer's eyes. . This is sex under the perspective of psychoanalysis: it is not to go directly to the final reference point, but to bypass the initial misunderstanding in a circuitous way, and when we reach the "reality" and the meaning of asexuality, the misunderstanding remains It continued to echo.
Some commentators have a prejudice against Lacan. They think he is anti-feminist. One of them is that according to his opinion, because desire and law are two sides of the same thing, the symbolic law is not to restrain desire. , But to constitute desire, only men-fully integrated into the symbolic law-can fully desire, while women are forced to hysterically "desire for desire." Such an interpretation actually does not correspond to Lacan's point of view: In his view, in the most fundamental sense, desire is a kind of reflexive, "desire for desire." However, people tend to "complement" the argument, and they will consider this with an approximately symmetrical and dualistic fantasy: only women can indulge in fantasy, and men are destined to chase the "right" in vain. Fantasy fantasy". We can recall Stanley Kubrick’s "Eyes Wide Ring" (1999): Only Nicole Kidman’s fantasy is a real fantasy, and Tom Cruise’s fantasy is nothing but a self Anti-sexual scam is a hopeless attempt to artificially reconstruct/reach the fantasy, a fantasy behavior caused by encountering the fantasy and trauma of the other, and a futile effort to try to answer the mystery of the fantasy of the other : What kind of fantasy scene/situation can identify her so profoundly? In Tom Cruise’s adventurous night, what he did was embark on a journey of buying fantasy on the street: every situation he found himself in can be regarded as a kind of being Realized fantasy—the first fantasy is to become the object of his patient’s enthusiastic admiration; the second fantasy is to encounter a friendly prostitute who doesn’t even want to ask for money from him; the third fantasy is to be with someone The weird Serb meets, he is the owner of a mask rental shop; in the end, it is the grand carnival in that suburban villa.
In this carnival scene, we realized a weird, depressive, sluggish, and even "sexual impotence" texture. It was in this situation that his adventures reached a climax. Many critics believe that this film uses an absurd and purifying technique in depicting the scenes of carnival activities, and many elements are outdated. This actually reflects the paralysis of the hero's "fantasy ability". This can also be used to explain the scene of Nicole Kidman falling asleep. The mask is placed next to her and on her husband’s pillow: in this version of "Reaper and the Maiden," she actually "steals "Leave his dream", she and his mask together represent his dual fantasy ghost. In the end, this shot also fully maintained the apparently vulgar ending of the entire film. After he confessed to her about his night adventures, when they were all faced with excessive fantasies, Kidman-she was convinced that they had fully awakened and returned to the daytime, and they would stay forever There (if not forever, at least for a long time), stop the fantasy from continuing to act recklessly-she told him that they must do something as soon as possible. "What's the matter?" He asked, and her answer was "making love." The film ended, and the ending subtitles appeared.
The path provided by this sentence leads to a wrong exit, which is a way to avoid facing the horror of the fantasy world. This appeal has never appeared so abruptly in a movie: the behavior in her mouth is actually Unable to bring them real, physical satisfaction, this satisfaction may provide a lot of empty fantasy. That kind of behavior only provides a stopgap, a desperate preventive measure, they want to prevent the fantasy world from spreading. Her message seems to be this: In order to kill those turbulent fantasies, let us make love as soon as possible, lest those fantasies overwhelm us again. Being awakened in reality is regarded by some as a way to escape from the real world. Lacan mocks this statement. He believes that the presentation of sexual behavior in dreams is more important than the behavior itself: if we are not able to make love, Then we will not dream of this behavior-on the other hand, the reason why we make love is to escape and stifle excess dreams, otherwise they will swallow us.
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