Strauss, Fraser, Morgan, Margaret Mitt, Marcel Moss, etc. can all be regarded as modern and contemporary scholars. conflicting attitudes (for example, Fraser regarded witchcraft as a cognitive error of primitive people, and as a Christian, Scheler only focused on criticizing the superstition of ancient mythological thinking, but Strauss, Moss, etc. However, he has seen more of the signification of the symbol systems of witchcraft-mythology, that is, the key is that they refer to infinite things through finite natural things, so the focus is not on pure symbols themselves. Fraser also pointed out that witchcraft thinking Faithfulness to the laws of nature can indeed constitute the matrix element of future scientific thinking), but in common, it restores the value of the original human existence structure from a more holographic perspective. This is because, in the diachronic process of human history, the "formula" of the original symbolic thinking of animality=spiritual divinity has flowed and diffracted endlessly tangled survival phenomena:
the villages at the foot of Mt. Therefore, it is stipulated that the 70-year-old must be carried up to Mt. Nara to sacrifice to the god of Mt. Nara. Similar village rules are used to limit the villagers who reproduce too fast, so as to maintain their rations and ensure the survival continuity of the village as a whole. The collective laws of survival can also evolve to be brutal. In the most primitive and the most difficult dimension of human existence, the act of stealing without a crime to death has exposed the root cause that it is still regarded as the most disgusting among all kinds of crimes. Things related to life, such as food. Therefore, the villagers buried alive the family who only stole the food from the villagers with animal rage.
Shohei Imamura's "Narayama Festival Kao" is more realistic than the version that Keisuke Kinoshita beautified and appeared in in the form of Japanese drama. The purpose is that the former superimposes the animal nature of human beings. In order to maintain the ecological continuity of the entire village, the elders and The incest, the rape of animals, and even "promiscuousness" in the younger generation may gradually be deduced into a necessary and subtle social "relationship", like the sex-hungry son of Reiko's mother-in-law, Lizhu, who is born with body odor and is incapable of getting a partner. If you don't ask another elder to help, your sexuality will turn into violence. He not only rapes animals, but also tries to kill his own horse, seriously destroying the family's labor force. For a village, the family unit is basically waiting for Worthy of the social unit (which also confirms Strauss, Mauss's point of view, human biological behavior, such as incest and indulgence, it is forbidden or praised according to the actual needs of different communities, that is, in the beginning, The totemization of animal structures implies the existence of some kind of energy that transcends the norms of civilization. It is just because of the simple self-identity of symbolic thinking, the metaphorical superspirituality of biological actions will gradually recede and evolve into a kind of social relationship and contract.) . The montage shots of animal mating and mutual feeding that are constantly intertwined and intertextualized with the villagers' lives can be said to be fully identified here. But the complexity of the problem lies in the fact that animality = spirituality. The 69-year-old mother-in-law of Reiko is kind-hearted and strong-willed, but she also spares no effort in guarding the village rules without giving up. When she finally "supervises" her eldest son Chenping without hesitation (in the film, he is also a very human being who has a tendency to resist the animal world and the principle of competition), after carrying herself up the mountain, the state of the old man with his hands clasped in the snow is different from that of the world. There is no difference between the most devout Buddhists or Christians—or, for her, the most basic existence itself is the gods, and her love for her loved ones does not go against the barbaric intentions and laws of existence. That is, even "pure" existence rather than a desire to be revived by modern-(post)modern philosophical or literary theory (the latter often endowed with aesthetic, theological, or metaphysical connotations, as in Levinas' sexuality and God fear is closely related to the Hebrew God. Canaanite, Sufism and Gnosticism are sexual intercourse or divine marriage with divine meaning. The erotic consumption of ideology/super-referential...) is also a core of transcendental ontology that is pure and selfish. Therefore, what bothers me most in the whole film is the kind of spiritual love that is expressed in a subtle, almost lingering and tactful way from the outspoken animal village life. This makes "Narayama Festival Kao", "Blind Mountain" and "Kim Funan Murder Case" infinitely similar in type and object of inquiry.
In short, the most complex problem is not the complexity of the problem, but the unproblematic simplicity, which also has an infinite spiral of complexity.
View more about The Ballad of Narayama reviews
