[An imprecise and random speech]
Jack: (As a docent, looking directly at the camera) The movie is divided into several reels. Not one roll to the end. Someone needs to pick up two rolls of film exactly when one roll ends and the next roll begins. You'll see little dots at the top right of the screen. (The circle appears, with a "drip" sound, and Taylor points to the circle with his back to the screen)
Tyler: (turns around) Our jargon is cigarette branding. (The circle reappears with a "drip")
Jack: That's the mark for the next volume.
From the beginning to the end, the film unfolds from Jack's first point of view, with Edward Norton's depressing but charming voice as "a trampled teddy bear", and tells the audience about his "best moment in his life" in a chatty tone. Weird time". Therefore, when the film freezes when Taylor says to Jack "I want you to hit me with all your strength", it is not abrupt that Jack begins to introduce Taylor Durton as a documentary narrator. It doesn't matter here whether the Taylor/Jack projectionist's job is fantasy or reality; the reason why Taylor likes to insert flashy pornographic scenes in family-friendly movies is not just to highlight the bad taste and immorality of Taylor's character , Cynical... To a certain extent, it reveals the answer to the video puzzle constructed by director David Fincher - the trapped beasts in modern society long for life to be destroyed, and this is the only way to "wean".
Before Taylor appeared in the camera in a "normal" way, the director arranged a total of four interludes for him, which are
These pictures are only one frame, and if you are not careful, you will miss them; even if you see them, you will, like viewers forced to see pornographic footage, "don't even realize they saw it." But when the interstitial screen appears four times, the audience has to, like Jack, go from hallucinations caused by insomnia to confirming whether it really exists, and finally believe it. At the same time, these four frames correspond to the four nodes of Jack’s psychological disorder: self-awareness—obstructed in seeking external help—treatment (“mother” care, masculinity suppressed)—disorder again (primitive instinct/ Desire awakening).
Because Jack relied on consuming substances for pleasure for a long time, his libido counterattacked after a long period of dislocation and depression. As the incarnation of Jack's subconscious id, Taylor's four "strong" appearances symbolize that Jack, as a civilized self, has lost his master after six months of suppression and anti-suppression (insomnia). control position. Especially when he appeared behind the doctor and hooked the counselor's shoulder, Tyler almost defiantly looked down at Jack with his chin up, as if mocking Jack's so-called self-help behavior as a pointless struggle.
In fact, if these four interludes are deleted, the audience will be even more surprised when the mystery of "Tyler is Jack's split personality" is revealed. But obviously, compared to the suspense film that emphasizes the reversal that surprises the audience, David Fincher's positioning of this film is more inclined to "psychological thriller". This means that in addition to bringing sensory stimulation to the audience, the film focuses more on showing a person's mental state of gradual splitting under the norms and repression of modern society. The best way to achieve this effect is to let Taylor gradually occupy the audience's subconscious, so that the audience can empathize with Jack. To this end, David Fincher arranged five simultaneous recording microphones, so that Jack's uninterrupted first-person narration presents an immersive memory different from poetry recitation; plus indirect viewpoint shots and a few slowly advancing purely subjective shots, gradually Let the audience substitute into his perspective, and enter the world where the boundary between dream and reality is blurred together with Jack. Therefore, Tyler, the externalized id, invaded Jack's reality consciousness, and at the same time invaded the audience's subconscious, so that the audience gradually accepted the existence of the invader: the steady rhythm of watching the movie was broken, and the excitement was generated after the fright, and then the Looking forward to being broken and frightened next time, and finally falling in love with this destroyer, looking forward to even more terrifying sensory and psychological stimulation.
However, the film's ambitions don't stop there. After Tyler Durton's official appearance (before that, in addition to the four intervening frames, there were the following two informal appearances, which also played the role of externalizing the id and invading the audience's subconscious)
The regular narration of the film is paused again, and Jack introduces Tyler. Unlike the last time when we paused to introduce Jack's insomnia, this time the film adopts a documentary filming technique, which makes the audience briefly withdraw from Jack's first-person perspective and return to the perspective of an equal viewer. This is similar to the defamiliarization emphasized by Brecht, that is, the audience is transformed from a purely emotional intoxication mode to a rational thinking mode, thereby stimulating the audience's enthusiasm for thinking and criticism. Now let's go back and look at the scene quoted at the beginning of this article (a pause button is also needed here) - the picture slowly focuses on the film with male genitalia - after a brief visual impact, the withdrawn audience is "Explaining" Watch "Night Owl" Tyler's work under the leadership of "Night Owl" Jack: taking advantage of his role as a projectionist to insert R-rated footage in a family movie. The "documentary" alone is not enough. Taylor, who will be watched in the film, is also set as the narrator. The explanation and interaction between the two of them and the "cigarette brand" make this clip more like a family DV short film produced by the two of them. The second part of Tyler's restaurant waiter's work comes together like an April Fool's joke or a low-level comic. This makes the audience further aware of the absurdity and unreality of everything in front of them, thereby achieving the effect of alienation and prompting the audience to doubt the rationality of everyday life. This kind of reflection on everyday life is reflected in Jack's narrative of "brand planet" and his "addiction" to furniture and decoration at the beginning of the film. The attacks and the "big sabotage plan" were completely exposed to the audience. At the same time, the film uses a lot of CGI technology to build a modern society from another perspective, whether it is the presentation of the human brain neural network in the title or the trash can of the "brand planet", all of which are guiding the audience in a "novel, unconventional" way. A familiar perspective" to look at things or phenomena that people take for granted.
It's a pity that a 140-minute thriller and suspense movie is destined to not give the audience much time to think, but many short-term thinking mode switches are enough to affect the audience's viewing habits. So when the presence of the cigarette burns the audience into doubts about the veracity of what Jack tells, we can't help but question the entire seemingly real film and further question our own so-called real life - my desire is Real or fake, repressed, perverted? Is what I see the world as it is or is it some kind of ideology or ideology fabricated to enslave us? Is there a more real possibility for my life, my thoughts, my whole being? At this time, we are like Jack who met Taylor for the first time. We saw our true desires from this externalized self, but we have no ability to actively change reality. We just allow tough actors to destroy our lives, even if life will be caused by this. Towards the "drastic turn" ending in the secular view, we still long for the original life to be broken and destroyed at least in the dream state. And most of us are "lucky" and won't suffer from such unintelligible disasters, so we will always live in "true and false", always "children in their thirties", and cannot be separated from the pacifier of material desires; only Very few of us have the courage to take the initiative to change the reality after seeing through the absurd mask of life; and those of us who are forced to watch male genitalia in family fun movies can only take the initiative to look directly at the true desires in our hearts and kill the "father" who controls the initiative. Only in order to realize the unity of the id and the self, and obtain the growth in the true sense.
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