Using Foucault's conceptual tool of "power-knowledge-body", it is possible to interpret the "will to truth" that power exerts on knowledge on the body, which is centrally presented in this film. The production and annihilation of tangible and intangible rules is constantly shown in the film. Foucault's view of power is a generative understanding of power, which produces knowledge and limits man's understanding of his relationship with nature; produces the body, which is transformed into more productiveness in prisons and factories; it is through discourse Manufacturing is internalized as a bodily behavior, which achieves dual control of human body and mind through knowledge control. Foucault's genealogical research gives us the opportunity to identify truths that have always existed but are deliberately ignored, to re-examine the history constructed by multiple factors, and to marvel at how the discourses of those specific historical periods are produced by power-knowledge relations on the subject. and spread. Analyzing power is nothing more than explaining the history of a particular historical subject. The servile subject who is ashamed of reason and succumbed to the discourse of centralization has become common sense under the hotbed of authoritarian culture, and has a certain "truth". This is just the beginning, using the subject's body as a medium, constantly spreading the discourse that created it and spreading it. Spread this subject identity throughout society. The center of power in this field is Father Paul. Paul has become the God of ideas. His voice and commands permeate every corner of the field through broadcasting. The result of disobedience is punishment. The tussle, Foucault's "disciplinary power" explains the tacit view in the film that the subject is not only a form of knowledge, but also a construction of power, through a set of techniques, methods, facilities, descriptions, to the body and the The soul is transformed, and finally achieves the purpose of self-discipline. In the closed discipline field, Paul does what he needs to do in the name of love and calls for religious charity. In fact, he exercises strict ideological control through discipline training and micro-management. At the same time, he cooperates with the dictatorial Chilean President Pinochet to develop Weapons and poison gas. Scumbag! When Husser tried hard to escape the colony of dignity, but lost his life when he took the first step into the free world, where is the so-called "free world"? Perhaps it is simply the way to the next unfree centralized world, where everyone is a product of history, where can they really escape. This one is spicy enough. The colony of dignity is actually a microcosm created by a totalitarian society. If you want to break this illusion, you must rely on foreign others who have not been abused. But how hard it is to smooth such a historical fault. Hiroshi Sugimoto said when he recalled the first time he went to the cinema as a child: "There is a similarity between watching a movie and dreaming, that is, we lose ourselves in watching, our consciousness is involved, and we even sweat profusely." Specifically, the film subverts the male-dominated perspective. Lena candidly photographed the back of her boyfriend's naked apron and wrote "My Man" on the photo. This scene intentionally flips the gender viewing position. Hollywood movies shouldn't just be filled with male stares at women, and since Emma Watson has been running around for the feminist movement recently, this image seems to be tailor-made for her. The boyfriend becomes the object of gaze to satisfy her visual pleasure. Before the two were flirting, Lena once said: If I find out that you are hiding in a golden house, I will castrate you. (Why do I watch such a film on a stormy day...)
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