Freud's interpretation of the metaphorical mechanism of dreams, the id escapes the scrutiny of the superego through the substitution of analogies. Roland Barthes's interpretation of writing is similar to Freund's metaphorical mechanism, that is, the discourse of consciousness is like a manuscript on which the original text is covered by the second text, and we can see the former through the gap of the latter. And this film talks about human nature like this second text. Just a metaphor.
Joseph - the erotic
Joseph appeared in the film as an erotic person in several sex scenes with Domino, and he exuded an unrestrained breath. No repression of his own desires is shown in any of the scenes.
Domino -
In the scene where Farah the Disciplined meets an old friend on the beach, Domino is obviously sexually aroused by this stranger, and finally can only sit in a corner and struggle to suppress the fire of desire. This scene is the portrayal of Domino. In addition to appearing in sexual intercourse with Joseph many times, he continued to seduce Farah, and even touched himself in front of Farah. Farah was indifferent from beginning to end. In the end, Domino gave up the seduction of Farah and suppressed his own desires. Domino's attitude towards desire in the film is from wanting to indulge to having to suppress, and appears in the film as a disciplined person.
Farrah - The
Watcher Farrah appears as a voyeur in Domino's sex scene with Joseph, but when faced with Domino's temptation, he's unusually indifferent, even slamming the door in one of Domino's most lewd teasers. As long as Domino is always in the position of suppressing desire in the camera facing him, Farah appears in the film as the suppressor of Domino's desire. As a watcher, watch everything around you. The presence of the monitor as a police officer in the film makes it impossible to ignore the director's political metaphor.
politics
Joseph and Domino are both ordinary workers. As a policeman, Farah suppressed the strike of Domino and his co-workers, and the plot of suppressing the strike and the plot of Domino to seduce Farah appeared in Huwen style. In the end, the protest rally was dismissed, and Farah was also at the end of Domino. Slammed the door in a seduction. The police's repression of strikes is like Farrah's repression of dominoes' desire. In a scene not long at the beginning of the film, Farrah, Joseph, and Domino were dining in a restaurant. Facing a group of unreasonable troublemakers who forcibly interfered with other people's meals, Domino was a little dissatisfied but finally complied with their demands ( Disciplined), Joseph rages and warns them (Sexist), Farah doesn't respond (Watcher). In this scene, the class identities of the three parties come to the fore and hint at the ending (Fara, The Watcher. Joseph, the Indulgent. Domino, the Disciplined).
Dumont's visual language has a high degree of precision, and the political metaphor is more It is reflected in the details, such as the portrait of Chirac that keeps appearing in the police office, the language barrier between the Eurostar and the British witnesses connecting France and the UK, and the communication is not smooth. Government loans to art galleries and the search for murderers in mental hospitals.
One of the
two most prominent styles of image styles is still shots. Whether the subject is a still life or a moving figure, it is always in the center of the picture, as if it is firmly controlled. The protagonist's eye focus is always wandering out of the shot, and the camera closely follows the protagonist's eye focus, and the next shot connects to the landscape or a person moving toward the camera from a distance. As if everything was under the watchful eye of the protagonist. The second is an extra-long detail display. The audience seems to be facing a monitor, some words suppressed by the mainstream media, and some details that cannot be "moved" are displayed. This extremely repressed ascetic audio-visual style exposes the world to the ubiquitous surveillance of desires. Under this surveillance, all people are subconsciously discipline their desires. The camera continues to pay attention to the detailed descriptions. It is the struggle and struggle between the release of desire and discipline, (eg Domino, Sheriff) Dumont perfectly expresses Foucault's "panoramic prison" with images.
Panorama Prison
A watcher can see the watched, while the latter cannot see the prison structure of the former. Since the watcher is invisible, it is only an imaginary omnipresent gaze that watches and rules the watched. A covert ideological way of working. It is this desire to be under surveillance and unconsciously disciplined that the film shows. And indulgences are ultimately punished.
Reminiscent of the film's name L'Humanite can be used for humanity, the meaning of humanity. This is Dumont's irony.
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