1. Nazi
shadows are everywhere in Nazi and male films.
From the surface of the film, the Nazis are embodied in several Nazi brothers in the big family. They represent power, death threats and the destruction of beauty.
They are typical Nazi images, racism, the pleasure of killing, the incarnation of demons-taking pleasure in rape and murder of Jewish women.
But the Nazis in the film are still one-sidedly demonized and symbolized (as in most movies). For example, the father of the Nazi Party taught his 16-year-old son to strangle a woman and raped his daughter with him.
The description of the Nazis is so shocking and unethical. Reminiscent of "One Hundred and Twenty Days of Sodom", the same metaphor of perverted politics and indulgence.
In the critique of Nazi ideology, abuse often becomes a powerful accusation and a strategy for seeking audience approval.
Others who put Nazis and sex together include "The Gatekeeper of the Night" and so on.
And why it is handled in this way, perhaps more should start from the meaning of the representation of sex in the West.
Because the sex in the film is obviously limited to "male sex", this sex is a kind of physical indulgence and a kind of psychological vent. It is the male desire to eject from the inside and the pleasure of destruction from the outside.
According to Freud's theory, (well, I'm talking about Freud who talks too much, but it is undeniable that his theory is still very effective in explaining Western movies) This sexual instinct is equivalent to a certain "death instinct"— -The ultimate pleasure of violence, destruction, destruction, and what can't be done.
Of course, the sex in the film, in addition to narrative needs, is itself a visual and audience strategy. This seems to be a film full of rebellious women. However, it still satisfies Laura Mulvey's "lust for voyeurism". The tattooed woman appears as a kind of "sexual attraction", not to mention her rape, SM, homosexuality, or "female superior" sex scenes with male reporters. Furthermore, the tattooed dragon on her back is also a "spectacle" to be watched. When I saw the tattoo, I told Miao Miao that it was not like the Nazi tattoo on the back of the victim in "Red Cherry" An eagle that only represents the power of the Nazis?
——How similar the two are. Although I don’t know where the dragon on the back of the tattooed woman comes from, I am sure that it also comes from this patriarchal society and its persecution and violence against women. The two are just one light and one dark.
But in fact, their most similarity lies in the fact that movies can subtly mix sexual stimulation and offensive violence (reactionary forces). The big box office win of the Chinese movie "Red Cherry" was actually due to this point. . This contradiction between ethical emotions and physiological stimuli just provokes the audience's desire to watch.
Of course, this type of combination is not well done. Here I want to talk about "Nanjing! Nanjing! "It fails. First, it should not be combined with the Nanjing Massacre and the rape and murder of female compatriots; second, the filming of the rape of female compatriots is too pornographic. Although the audience is biologically similar, it is rational. But telling myself this is wrong, so there will be contradictions and discomfort in my heart. The movie will naturally end up being criticized.
Pull it far, then pull it back. The Nazis on the surface of the film can be seen by everyone, and in the hidden layer of the film, there is also a "Nazi". He is the male power represented by the traditional Western "Logos Center" (the "Logos Center" was originally created by Heraclitus proposed that Lacan used the term "Logos Center" [Shizu] to symbolize the penis). This hegemony is the foundation of the Nazis, and it is also the Nazi's lingering shadow in today's society.
In the film, there are not only a few blatant Nazis, but the other two men who appear in the film are also such patriarchs.
One of them is the guardian of the tattooed girl, and the other is her own father.
Moreover, these two people appear as "parents".
When the guardian wants to tattoo the girl to bite him (koujiao), pay attention to the use of the camera at this time, close up his large pair of men's hands, which are pressing hard on the woman's head-this symbolizes the male society's control and oppression of women . In the second time, he simply handcuffed the woman with handcuffs, and used SM to torture the woman.
As for the real father, although we don't know what he did, from the paralyzed mother behind, we know that this man must also be a sexual abuser and he caused his mother to be disabled. Another man who mutilated a female body.
This also triggered the subsequent "father killing" behavior.
The woman took a video of herself being raped and retaliated against her guardian in the same way. She also tattooed him with the words "I am a rapist".
When she was a child, she rushed to the front of her father's car, poured a bottle of gasoline on him, lit the fire, and burned him alive.
When my father crawled out of the car door covered with fire, a panoramic view of the car appeared in the lens-this is a BMW car. This father is undoubtedly a middle class.
As for the guardian, when he first appeared, he was in an elegant office with high-end decoration books behind it. This shows that he may be a senior intellectual or a politician.
However, it is these two mainstream upper-class people, the men who appear as the "parents" of women, and they are the ones who abused women.
Therefore, this represents that the Western "logocentrism" controls the social fortress, dominates the dominant thought, and has consistently carried out brutal control and oppression of women.
So next we will talk about the counterattack of women in the male hegemony system.
2. The
original novel about women and women seems to be called "The Woman Who Hates Men" or "The Man Who Hates Women". This topic saves me a lot of tongue. It talks about the binary opposition between men and women.
The tattooed woman wears black smoky makeup, neutral dress, short hair, and looks like "Nana".
And her body and movements are also male, stunted, handsome and violent.
And the tattoo design on her back reminds me of "The Pillow Forbidden Book" and Qing Shaonayan's pillow grass. If it is said that in "The Pillow Forbidden Book", the body and history of women are written by men; then in "Dragon Tattoo", this kind of invasion is deeper and penetrates the texture.
I jumped to think of "Sad Milk" again...In it, because of fear of male intrusion, the woman stuffed a potato into her lower body, and then the potato began to sprout, so she cut it with scissors. Cut off the new sprouts.
Of course, the tattooed woman finally started to fight back. She also tattooed the words "rapist" on the male body, just like the woman who was written from an early age in "The Pillow Forbidden Book", and finally began to pick up the pen and use the male body as paper. Writing is average.
Regardless of whether it is male writing, tattoo intrusion, or female filling and counterattack, they are all about how the weak female body is in the hands of males... I remembered a story in a novel and quoted vulgarly: "I like flowers. Like to tear off their petals piece by piece, leave nail marks, or rub them into juice. "
Well, because of this being ravaged by men, she hates men and engages in homosexuality. At first glance, it was another film design that wanted to take the route of "independent women".
However, is this woman really an independent woman?
Many people believe that nowadays, women's films are extreme confrontational works, such as "The End of the Wild Flower", where two women fought with death. However, this seems to be impossible. If you don't fight with death, like this movie, what will the ending be like?
Ending at the tattoo woman wearing a blond wig to steal a large sum of money politicians
(By the way, the story mode Miao Miao said something like "Groundhog Day" Grand Theft Auto-style, that is, if the protagonist is doing in the film In the end, even if it is illegal, they will safely get a large sum of money to start a new life).
Then the woman came to a "new world" that no one knew, and she got out of the taxi. Let’s take a look at the camera movement (if I remember correctly), first take a pair of her stiletto heels, then her black stockings and short skirt that wraps her buttocks, then the woman gets out of the car and the camera continues to move up. We saw her wearing a long golden wig, her black smoky make-up and nose ring were gone, only a soft female face with unfamiliar light makeup. Then she disappeared into the crowd, and the camera shot her swaying back and the exquisite curves wrapped in the female professional suit.
At this time, the true feminists have to cry again. The women who have finally been independent have finally returned to the traditional women's skin recognized by men. After all, she "returns to the female body" and returns to the "female in the eyes of men". ". Meaningless.
——So, if women do not die in the movie, they can only return to the mainstream society, and return to this gender-unfair society.
This kind of conservativeness can also be seen in her love model. She was a lesbian at first, but after meeting the reporter, she developed from a friend relationship with a reporter to a lover relationship, and finally broke the ice in the woman’s heart. We can also guess the ending of —— the two took a large sum of money and "lived happily ever since."
Why is this treatment a regression? First of all, she has returned to a normal heterosexual model; secondly, the age of this reporter is about the age of her father... At this time I thought of "The Silent Lamb". She is actually like the woman in the silent lamb and got a "father" The guidance of "Father" once again returned to the patriarchal society represented by "father".
3. Detective Mode
33 says that this is adapted from Japanese manga. If you have read "Detective Conan" or such Japanese detective novels, you will understand its narrative mode—that is, a person is killed and he is next to him. A large group of people are suspects. The detectives are deep in layers, and the truth is confusing. He will always find some details that are designed by meditation when he is desperate. He will always lead to one or two possible suspects, but the real ultimate big The boss appeared unexpectedly. The protagonist might be in danger because of this, but there will always be a "last minute rescue". In the end, the truth comes to light, and everyone is happy.
The narrative of this film is the same, quite satisfactory, not much to talk about.
4. Religion and slaughter
are similar to the "Seven Deadly Sins", in the form of text encoding, quoting the delirium in the Bible as the method and excuse for killing.
Since I don't know much about religion, I won't talk about it in depth.
This piece is waiting for Kang Kang to perfect it.
5. Insufficient
stories can not withstand scrutiny, many fractures, many details can not be thought and recalled, and you will find unreasonable when you think about it.
Especially for the deification of the tattooed woman, for example, why did she know inexplicably in the end that the missing woman under investigation was not dead, and could she still give the man an exact address?
In addition, I want to incorporate and expand too many things in a movie, such as the points I analyzed above, and too much reference to other movies, making the movie look too fragmented and unintegrated.
The tones are not consistent in several places, and there are obvious fragments that suddenly jump from dark blue to green tones. The overall style is not uniform. (If you really classify it as a noir film).
6. Finally. ,
BY the way, after knowing that people like me are hopeless to make movies, I don’t pay much attention to the audiovisual language when watching movies, 囧.
And my language style, it seems to be teaching...
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