Based on draft 2, 26 December 2016, with changes
Bernard Stiegler, film The Ister:
I have a name, Stigler.
But the bird on the branch has no name, and the tree has no name.
My dog does have a name because it is a domestic animal, a human animal.
It responded to a name because I adopted it.
I adopted my name in the same way.
Jacques Derrida, On the Name:
What did we call this name? What exactly do we understand under the name of the name?
What exactly happens when we give a name? What exactly is given?
What we give is not actually a thing, in fact, nothing is given, but something is gradually taking shape.
In fact, in naming, we give something we don't have, such as Plotinus's word for good.
First of all, what exactly happens when we have to give a surname and name a place without a name?
Then, what exactly makes a proper noun some kind of surname, pseudonym, or cryptonym that is both unique and uniquely untranslatable?
La philosophie non-standard by François Laruelle
The past returns, the present becomes, and the future depends on our sous-venir.
The future sous-venirs into our present.
All futures are the futures of some subject. (tout futur est futur de (pour) un sujet)
What's in "Your Name"?
The expectation of swapping bodies, perhaps a perversion of sexual repression, is not radical.
The film may be about gender drift (gender crossing, gender fluid) of East Asian teenagers, but it doesn't dare to unfold in the end.
Girls want to be where boys are, and boys want to be girls — Guatarri says it’s the swing of teenage positivity as it should be.
Adults insist that they are heterosexual, but they are unbearable.
But the teenagers in the movie just glanced at the gender black hole probe and didn't dare to go into the water.
At this point, Your Name's representation of teenage gender dysphoria is underwhelming.
If you want me to shoot, why don't the girls swing back to the boy's gender position, and when they are in the middle, they don't know whether they are female or male, and they can't return to their original gender. This is radical!
Swapping bodies is too cute!
The most intense position is active sex change, refusing not only to enter the men's toilet, but also refuse to enter the women's toilet, is the real third gender, to the position of the insurgents!
Among the many existing choices, the director took the safest possibility.
The second violent part of the film is that it handles time like folding a dough and rolling out dumpling wrappers, so that the time period of the story is dislocated, broken, and re-joined again, taking what has happened as a library card, one by one. Retrieved, reordered in the present, mercilessly liquidated from today, and revised repeatedly.
Since the future is a disaster, let's go back to the carbine, pull out the chaos, and simply demolish the entire past!
But when the director started, his hands trembled again. He wanted to romantically redeem the past before the disaster, but he still fell into the cliché:
I waited for a thousand years, missed it again, and finally figured out why I missed it.
If I want to shoot, I simply go Hegelian:
The disaster that has occurred is necessary, let us go all the way back to the Paleolithic Age, and reassemble five thousand years of civilization for our little love, haha!
Or, don't be disappointed when looking forward to tomorrow. Since it's my play, let's make the disaster more frightening, add a little difficulty factor, and write it into a disaster-novel! My future must live for it, live in it, must be worthy of disaster - the plot concept of the novel!
How would you rate the handling of reserved repertoires (generation gap, love setbacks, disasters, spiritual salvation, etc.)?
Disaster has always been the savior of a crappy director.
The story can't go on, let the comet hit the earth, there will be a lot of things, and the end will be easy to deal with. "Your Name" also suffers from this chronic disease.
However, director Shinkai Makoto jumped out of the Chen routine and deconstructed the motives of disasters that Hollywood's "Tornado", "The Day After Tomorrow" and Lars-von Trier's "Melancholia" wanted to express, and took the biggest disaster as an event that happened. , let the serene beauty of the post-disaster scene bring us great comfort:
By the time we react, we are already living after the disaster and looking back on the disaster. This is giving us a shot at the climate crisis.
He also took advantage of the opportunity to take the disaster scene into a wind tunnel where men and women love each other, making the core of the disaster a beautiful scenery place where people meet each other.
That's a plus! Brilliant in the movie.
Intergenerational Relationship Handling: Failed!
The first fifty minutes of "Your Name" entangled the topic of the generation gap without direction.
On the surface, the directors are willing to stand on the side of the next generation, showing how the modern gap makes the teenagers miserable and fight for their rights, but in reality, they are cheating when they show the life of the teenagers, and they see the wrong signs!
The generation gap is a stalk that advertisers make up without thinking, and it is a Trojan horse for advertising and marketing to penetrate into the family.
In fact, in order to sell, capitalist advertising is always trying to divide two generations, full of flesh and fragrance, to encourage the next generation of consumers to go beyond parental authority and traditional guidance to express individuality and make everyone in the family equal. consumer--
You are so old, and you are still a good baby of your parents. You listen to them about everything, but you don’t drool after watching the advertisement. Isn’t it shameful?
In Melatonin's advertisement, it is still buying gifts to honor the parents, and the parents are still photographed as ridiculous as ants!
God damn it, what personality can a consumer have! Consumption has personality? Consume according to individuality?
"Your Name" is a pre-film commercial that continues to lurk in the movie!
The fact that two girls and adults have a generation gap does not mean that they have special personalities, right?!
But without talking about the generation gap, how to present the struggles in the contemporary life of young people?
The handling of the repertoire of the generation gap can especially tell whether the director has brains or not, which is almost a watershed in the style of the movie.
Love, shown in the movie as seeking reconciliation, etc.
Maybe teen movies aren't meant to be about love.
In "Your Name", contemporary teenagers are so tired and tired of falling in love, it's too labor-intensive, obviously it's not a quantum leap on the flames! I really want to stop work and help them!
Our animations mindlessly make teenagers dislocate their impulses, like doing English sentence pattern exercises, like Guo Jingming's rubbish practice of finding the right person and waiting for the love of the destined person, so scary!
Want to be a good match who has been registered in a previous life, wow! This is much harder than taking the first place test!
Love is like a key! Obviously, Lanxiang technical school students are better at operation!
No matter how long a thousand years are, or how many light-years there are between galaxies, I kneeled and became a follower of Jung:
Just listen to your heart!
The master psychoanalyst Lacan said:
The see-through is the easiest to fool.
(Les non-dupes errent)
Those who don't want to be fooled can only watch the fire from the other side and make a mistake.
I only waited once in a thousand years, but what I waited for was an old turtle. In other words, finding the right person to love was an attempted suicide.
On the other hand, Ai has to be fooled and make himself helpless, like entering the underworld to trade names, kill people, and get involved deeply from the beginning.
Love must first be put into revolutionary action, in difficulty or even failure, and then rescued with more love.
The philosopher Badiou said in Being and Events:
Seeking scientific breakthroughs, engaging in new political movements, and engaging in avant-garde art should all be half-hearted on the surface, but in fact, take the initiative to get out of the way, so as to get out of the stellar main trajectory.
"Your Name" has fallen into sweet youthism: ah, it's so cute and mythical, it's also very beautiful and very photogenic!
Teens are betrayed again! They should have loved the most powerfully, the most devastating, and set a benchmark for the times!
Not only their drinks, but also their love, have been endorsed by Guo Jingming! This damn capitalist consumption logic!
The term "teenager" did not exist before the Middle Ages.
This group is the pet of pets isolated, rented, and exhibited by modern capitalist production relations.
They need to find their knights, fight and grow together.
But today, these knights only appear in video games and anime, and you can only become comrades by recharging!
The budding love is the star of rebellion.
Badiou said such a rebellion can be a mortal threat to the existing order.
Stendhal's "Parma Abbey" and "Red and Black" are teenage loves, where politics are torn apart and the parental order is challenged head-on.
It is not only a May Fourth-style break with parents, families, and traditions for love, but today should also become a human-bomb-style resolute resistance to the global capitalist order.
This is the entrance to the politics, science and art of teenagers, but in "You", it is expressed as a constellation, the destiny of N lifetimes, and the spiritual choreography between the body, and it becomes the play of checkers between lonely little individuals !
Teenagers have love, and finally become the milky fragrance wafting from a Tokyo coffee shop.
In an age when both genders are coded, love should perhaps go deeper and deeper.
In love, one should forget one's own gender, bravely borrow the power of the universe, and love like a rebel, instead of letting the inner desires fly away like a kite, so as to sing melancholy about the desire expressed in the incoherent composition sentences.
Love is one's own intensity, not the tens of thousands of years of waiting in the depths of the universe for anime or fantasy novels, not to find the right person, become a matching product, and be stamped with the seal of a qualified product according to the requirements of capitalist advertising.
The philosopher Heidegger quotes Meister Eckhart as saying:
Love is nature transforming a person through the object he loves.
(Quoted from Malab's "Heidegger Change!" p. 196)
Love is to let my name be called out affectionately by a lover who waits for not a thousand years, maybe just a hundred years, maybe ten years, maybe just ten months.
Love, it's me stepping over "your name" into your struggles, flickers, hopes, and mortgages.
Derrida explained in "Khora" that calling out your name is to hit the space bar on the keyboard, knocking desperately again and again, and finally an Other emerges in horror.
We love, love only it, my lover is just an impostor, a stand-in for the other I love.
Your name is just an excuse for you to be loved and loved in your name.
It is the lover who helps me to love and be loved better, ta's name is the reason for my love.
Love is just the beginning of the beginning (to begin the beginning), which is a difficult essay topic for myself.
Capitalism broke everything, made everyone infinitely replaceable, made us our own name, etched it on our skin.
Names are used as symbolic tools to direct us, like a herdsman scalding a family's surname onto a cow or sheep.
We have a name, a vest, but it has to be counted by its place on the roster, like a name on a draft.
By naming it, the capitalist market both owns us and isolates us.
The theme of "You" is actually very whimsical: only when the lover who is destined for thousands of years calls out my name is my real destination; with this kind of love, I become me, and you are you.
Your name must lead to you. Only in such a stunning post-disaster landscape can your name lead me to love you so much.
Because the computer or mobile phone we hold every day will never call "you"!
Others just follow your name.
Only you in your lover's mouth is artificial respiration for "you".
"You" were rescued in the emergency room (susciter un Tu), Roland Barthes said.
We can objectify an object in a person, God, but never "you".
(How to Live Together, p. 60)
I am waiting for the lover who has waited for a thousand years to call out "you" to indicate the location of my name and add content to the registered name.
Before that, as Hegel said, I was just an abstract will, and all my actions were just radio exercises, ordinary teenage life.
Although, sometimes you can't hold back like the heroine and want to get out of this position on your phone or a movie, but even you know it's futile:
You can't find your lover's name, you can only log in to a certain webpage at most.
But are you logged in? Fill in your name now! And what about photos? What about ID? mobile phone number!
De Certeau offers an anthropological reflection on this:
This practice of managing people by name, the modern situation where names precede individual subjects,
Make the living a symbol. We find ourselves having to become a union of meanings, an identity in a mass of discourses.
"I" from this obscure and disappearing body, from this tangled and troubled life, finally fell into a one-word disability, a fragment of a language, and this was only for the body to have a name, to be read by others, Quote...
Because the general rule is that everyone is saying to me, "Give me a body, and I'll give it meaning, and I'll give you the names and words of my words."
(The Invention of Everydayness, Vol. 1, p. 219).
On social networks, we can’t wait to make our name sit in line with other names: who will like the circle of friends I just posted?
At this time, it is necessary to pick out a name to be affectionate, and go from "your name" into a world of a lover called "you", how hypocritical!
It is more difficult to call out the other behind your lover's name.
We were inundated with the names of ourselves and our friends.
Outside the circle of friends, how to be affectionate and loving?
In Lawrence's novel, Lady Chatterley writes to her lover:
I can't stop writing to you now.
However, we always seem to be together, and we never give up, looking forward to seeing each other again.
(Now I can't even leave off writing to you.
But a great deal of us is together, and we can but abide by it, and steer our course to meet soon.)
How can lovers in WeChat be "together" affectionately and selflessly?
Netizens have handed over their real names to the social network's source text—the algorithmic framework behind the screen—and must have partially surrendered control over the "destiny of names" (Benjamin).
"Your name" is the hanger hook that puts you on the Internet, and we sell our names and our friends' names on social networks!
Therefore, "Your Name" may be a tragic expression of the feelings of the times:
Our bodies swing between sweets and takeaways, and we want to "love" even more, because love is even more impossible!
Capitalism: In the film, the screeching sizzle of the phone interrupts the narrative from time to time.
How should I watch a movie today?
When you enter McDonald's, you tell the manager, I bake chicken wings, make hamburgers, and pour drinks. McDonald's is like your kitchen.
The same goes for watching movies!
Sitting in the movie theater and waiting for someone to show it to you is to order a movie snack.
If it is like shopping for food, choose a lot of things from the movie and bring them home to cook, stir up a pot of your own Mala Tang, and level everything, then you are on the right track.
I figured out how to fish some, but sometimes I lose my appetite, so I might not be able to fish it out! Never accept ready-to-paste from editors.
Even if I watch an art film, I just take the seasoning package of instant noodles and boil my own vegetable soup.
In the past, when I wrote a movie review, I always said how the director handled the movie, how it gave people the overall feeling, what was missing from the plot, and that the director had spoiled the movie.
Artists' movie reviews must hit the wall, and they actually take Dream-Tage's ready-made products seriously!
I don't even know that it's just a salad that director Ah Mao smugly mixed some of his dream episodes with his hiccups in it. I feel dirty even if you give it to me!
The director did not spoil my film, but came to help the audience and provide materials, even Ang Lee gave me a lot of fun!
The movie is played by myself, I am not a wooden man, waiting for you to play me as a screen in the theater.
I can pre-order all the materials I need for Dream-Tage from the studio, like buying veggies.
For example, "Your Name", I actually only want to order the 50th to 80th minute part, and I can pay 1/3 of the fare. The first half an hour is so bad that I pressed myself on the seat, and I should be compensated. time!
If the requirements are higher, the film should not only look at stories and images, but also look very political.
Aesthetician Ranciere asked us to go to the cinema to take over the film-style political struggle that the director was involved in, and to translate the political action of the film crew during the struggle into the fiery real politics, so as not to let the film become a closed narrative and a frozen text. .
Movies are commodities, and when we see them, they become aids in political struggles.
In short, what we watch in theaters are all industrial film materials.
Commercial, Literary and Art Films
Some people say that this film is a commercial film, and its intention and function are not pure; they say that this film is an art film, and it is serious.
In fact, there is no difference in content between art films, experimental films and commercial films.
Intentional difference, the director especially wants to make an art film? But it is also pasted with similar materials!
Art films can also be treated as commercials, or the other way around! Some directors pretend to make art films, damn it!
Another misunderstanding is the difference between documentaries and feature films.
That difference is for the director, what do we the audience do with it?
As Rancière said, documentaries are set up like feature films, like feudal superstitions, and a little something needs to be created in the lens.
A feature film is actually a documentary, recording the scenes and the clues of the performance process by the director;
The audience is to solve the case, or to interfere.
When making a documentary, you are also using lenses and scenes to create fiction.
When the audience sees how the director handles the material in his hand, he will wait a while to go to the Internet and make a good repair of your director!
What is your name? What do we call out with it?
It is itself a source of no source, a space that opens up a world to us?
Behind your name, it turns out that there is another world, an open black hole?
Your name is your adoption?
Also your transindividuation (Simondon)?
It's also your movie, calling us to play tricks for you?
Is it your dream too?
It's also your you, the you you perform?
You are what you produced. Is it the name of "you" like a branch of your many "yous"?
It's you?
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