变态者电影指南

英国女导演索菲亚·菲尼斯执导，由斯拉沃热·齐泽克精心炮制的纪录片《变态者电影指南》《变态者意识形态指南》，显现一种孤独求败的意志，这同样也是一种忘我的竭诚。只有真正沉下心来去做一件事，人才显得无欲无求。

当齐泽克穿越希区柯克的电影来到卓别林的世界，当《窥探者》遭遇《异形》，所谓变态者不过弗洛伊德学说中一枚空落的棋子，或者反弗洛伊德而行之，弗洛伊德又成了神经病患者的一剂创口贴。拉康精神分析理论与马克思主义哲学，只是这位学术明星口中的“真知灼见”，那些经典影像成了他手中随意扣动的扳机，想打到哪就打到哪。即便没一个准星的，也得承认他那种异常亢奋又怪神乱入的总括能力。

人若真心诚意地研究一件事，灵感迸发的机率也就会大大增加。从这两部走马观花的探究中，看到了齐泽克的执着。从中不遗余力地推演继而产生悟道之觉，这是我对此片情趣盎然的缘由之一。只是觉得齐泽克对于所述电影，难免有一种感觉先行的直白，过于表面的浮光掠影，或触摸不到电影的实质，但自话自说也好过人云亦云。

在这里，“变态者”只不过是齐泽克反传统的借故，更多的是其想当然的格式化。更何况齐泽克所述的变态者，已超越我们所理解的一般个体概念，而一旦与意识形态混合联姻，这样的影像就注定能扭成了一团乱麻，余波之后又有某种说不明的失落。搅得风生水起的变态者，与所述的电影，往往有点儿风马牛不相及，也可能是齐泽克故弄悬殊的圈套。

注定如齐泽克这样的学者成不了殉道者，他也只是四处游荡的凑个热闹而已。多一个解析电影的视角，未尝不是个好事，容我以后再详加细看。粗阅观感只是一块未加琢磨的原石，得花更多时间细心触摸，这才更接近这两部片子的本质，否则，与盲人摸象无异。

2015、1、8

1.Dream

We escape into dream,to avoid a deadlock in our real life.but then,what we encounter in the dream is even more horrible,so that at the end,we literally escape from the dream. It starts with,dreams are for those who cannot endure,who are not strong enough for reality.It ends with,reality is for those who are not strong enough to endure,to confront their dreams.

人们在现实和梦境中来回逃离

2.enjoyment of sexual

The true enjoyment is not in doing it but in telling about it afterwards. Just arousing the fantasy and then rejecting the act results in utter psychological devastation. It is a case of a mental rape which can be worse than physical rape.

3. Anxiety

The only emotion which doesn’t deceive is anxiety. So the problem here is are we able to encounter in cinema the emotion of anxiety,or is cinema as such a fake?

4. Evil gaze

At the birds, the shot which taken as a neutral,God’s view shot,all of a sudden changes into an evil gaze.As if we are forced to act as a doll,as a tool of another evil divinity’s will.

5. Hitchcock

In Hitchcock,we have the motif of a person hanging from an abyss by the hand of another person. It’s wrong to look for a common,deeper meaning. Some French theorists claimed that what we are dealing here with is the motif of fall and redemption. I think that what we are dealing with is a kind of a cinematic materialism,that beneath the level of meaning,spiritual meaning but also simple narrative meaning,we get a more elementary level of forms themselves,communicating with each other,interacting,reverberating,echoing,morphing,transforming one into the other.

6. Paternal figures in David Lynch

I think that these ridiculous paternal figures are the ethical focus,the topic of practically all Lynch’s films.(that’s true) so these excessively ridiculous paternal figures,it’s not simply that they possess phallus,that they have phallus as the insignia of their authority,in a way,they immediately are phallus. And the provocative greatness of these Lynchian,obscene,paternal figures,is not only they don’t have any anxiety,not only they are not afraid of it,they fully enjoy being it. They are truly fearless entities beyond life and death,gladly assuming their immortality,their non-castrated life energy.

7. The law and judgement

The law is not only severe,ruthless,blind,at the same time,it mocks us. There is an obscene pleasure in practicing the law. Pluto’s judgement day,a truly Stalinist political trial. Stalin who personifies communist austerity,terror and musicals. The answer again is the psychoanalytic notion of superego. Superego is not only excessive terror,unconditional injunction,demand of utter sacrifice,but at the same time,obscenity,laughter.

8. What’s the source of chaplain’s comic genius?

It’s being mistaken for somebody or functioning as a disturbing spot,as a disturbing stain.

9. Love in city lights

A poor man who loves a beautiful blind girl. This is the metaphor of our predicament. All too often,when we love somebody, we don’t accept him or her as what the person effectively is. We accept him or her insofar as this person fits the co-ordinations of our fantasy. We misidentify him or her,which is why,when we discover that we were wrong,love can quickly turn into violence. There is nothing more dangerous,more lethal for the loved person than to be loved,as it were,for not what he or she is,but for fitting the ideal. In this case,love is always mortifying love.

爱情总是在抑制爱情

爱人=爱自己

看这部电影花了我好几天，其中一个很重要的原因是我听齐泽克说话会莫名很紧张，甚至透不过气，搞得我理解能力都慢了半拍。

电影是终极的变态艺术，它不提供你所欲求的，它告诉你该如何欲求。

《惊魂记》二楼一楼地窖，超我，自我，本我。

人性意味着掌控我们动物性身体的“异形”。

大卫·林奇 《蓝丝绒》 《穆赫兰道》《妖夜荒踪》现实中得不到，梦境中去实现

真正的性诱惑不在动作里，而在语言中

色情剧作家不是愚蠢的，一个少妇寂寞在家，一个水暖工来补管道的洞，少妇说“你能补一下我另外一个洞吗？”

精神强奸比肉体强奸更糟，逼说“fuck me”，说完却不付诸行动而离开。

没有幻想的性，就如同真实的噩梦一样。堕落的天堂就是地狱。

一切的感觉都是虚假的，除了焦虑性。

诺斯底派理论，我们的世界创造得不完美，是个怪胎，有虚空、裂隙、缺口，它不是完全真实的，是不完整的。

标准希区柯克式紧张，人物走进房门，检查楼梯，镜头反打，人物准备上楼，深不可测的楼梯隐藏着惊悚的元素。

我们害怕死亡，想要不朽，但真正可怕的事情就是不朽，而不是死亡。

朴素、恐怖的共产主义者斯大林为何喜欢农村音乐剧？答案还是“超我”意识——绝对命令、绝对牺牲的需要

Day 1 （5min）尽力了。。。听力有限，欢迎指正

The problem for us is not are our desires satisfied or not. The problem is how do we know what we desire. There’s nothing spontaneous, nothing natural about human desires. Our desires are artificial. We have to be taught to desire. Film is the utmost well art. It doesn’t give what you desire. It tells you how to desire.

What we get in this wonderful clip from Possessed is common story on the magic art of cinema within a movie. We can watch a working class girl living in a dark small village, what a sudden, she found in a situation while the magic cinema experience. She approaches the rail. The train is passing and it is as if what reality is, just a person standing near a slowly passing train turns into a viewer observing the magic of the screen.

We get a very real ordinary scene onto which the heroine’s inner space has been better in a fun space is projected, so that although all reality is simply there, the train, the girl, part of reality in her perception in the all of your perception is edgely well alleviated to the magic level, become a scene of her dream . this is cinematic art in its viewers.

But the choice between the blue and the red pill is not really a choice between illusion and reality. Of course, The Matrix is a machine full of fictions. But this art fiction which already struck our reality. If you take away from our reality, the symbolic fictions that regulate you lose reality itself. I want a third pill. So what is the third pill. Definitely not some kind of transcendent pill which enables a fake fast food religion experience but a pill that would enable me to perceive not the reality behind, the illusion, but the reality in illusion itself. If something gets too dramatic, too violent, even too fit in its enjoyment, it shed us upon the cognition of our reality we have to fictionalise it.

解决人生问题的一种方法就是去成为物体，更准确的说成为动物，即把所谓的生活中的选择也融入进这统一的解释框架中，于是，所谓的自由就会到来，上善若水。勇者屠恶龙，只有先变成恶龙。要扼杀物自体，就要自己成为物自体，也就是所谓自在之物。让一切如其所是，也就是什么天人合一，当然，我不喜欢这种玄乎的东西。 爱咋咋地，既来之，则安之。 不是说不知道现实如何，而是看清了也没用，就随它去吧。 欲望是现实的一个创伤，电影是唤起欲望，并表现欲望。但是同时让它保持在一个安全的范围，合适地教化它，表现它。 终极深渊不是走形的，而是他人深度的深渊，也就是哲学家所描述的“世界之夜”。当你看别人的时，在他或她的眼睛里看到了深渊，这就是真正把我们拖进去的深渊。 当我们看到一张面孔，往往都是一半。一个对象，就是某物的一部分，一张脸在那之后，我们看到的是一片虚空。当然我们自发地要填补那个空间，用我们关于人类个性财富的幻想等等。来看看现实中缺乏的是什么，这就是你看到的主观性。 最终的性诱惑在于语言中？色情是深厚的保守派，人不能没有幻想，与现实保持适当的距离。为了避开不可忍受的焦虑的深渊，就必须有象征秩序。 表象有很多真实性，完全去神秘化的逻辑等于把逻辑自身神秘化了。 法律不仅严厉、盲目、无情……同时也嘲笑我们，在执行法律时有一种恶心的快乐。我们今日的主要错觉，不是在虚构的东西里，对虚构太过认真，相反是对虚构没有太认真。你认为那只是游戏吗？那是现实比你看来的更现实。反过来说，正是因为现实的约束，而压抑了那个更真实的个性。 诺斯替宗教存在论，即世界本身是残缺的，上帝搞砸了，需要人自己做永恒的缝补。电影就是这样一种重组工具。 塔可夫斯基，时间是事件的承载者，不如说事件承载着时间。正是在这样物质瓦解时，精神有了深度。 除了焦虑，其它一切情感都是假的？ 我骨子里就是排斥一切神秘，粉碎所有障碍抵达最深层的本质。 如果我没爱，让我接近现实，我就什么都不是。 爱的是幻想中的他人，这时爱情就会变成了暴力，强迫他人成为所谓更好的人，实际只是他/她想象中的形象。爱情总在压抑爱情。 献出真实的自己总是危险的，爱人从理想的框架中跌落，结果是未知的。 卓别林的《城市之光》。 如果你要在现实中寻找比现实自身更真实的东西，去看电影化的虚构吧！