变态者电影指南

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。

第一集：界面将庸常生活的一部分提升为景观，主体在另一边作为凝视的载体➡️尽管所有的现实都在那里，但在她和观众的感知里，那是她幻想空间的投射，成为她梦的屏幕，这便是最纯粹的电影艺术｜超我和本我是深度联系的 超我不是一种道德力量 她是一种淫秽的力量 在我们不能满足她的要求时用不可能的条框来轰击我们 嘲笑我们。越遵循它 就更有罪恶感。｜冲动是无声的 失声表征着本我。本我根本上是混沌的，是绝对的堕落与天真的独特组合（像孩子一样渴望快乐 又具有攻击性 带着原始的邪恶）。没人真正注意到人类声音存在创伤的一面 人生不是作为表达人类主观深度的崇高、空灵的媒介、而是作为外来入侵者的人声。｜欲望是现实的伤口，电影的艺术在于唤起欲望 并表现欲望，但同时要与它保持安全距离，驯化它、显现它。/

第二集：那些断开链接的奇怪时刻——失去了幻想的支持的结果。为什么力比多需要幻想的支持？为什么不能直接简单的享受？为什么需要幻想的补充和维持？

《索拉里斯》 中的本我机器｜本我机器常见于科幻电影 能实现在我们面前直接实现我们内心深处的梦想、欲望、罪恶感｜凯文在索拉里斯星上看到了多年前自杀身亡的妻子 妻子是她内疚感的显现 ，他的根本问题在于如何摆脱她。她意识到自己没有完整的生命 只知道 他了解的她 所知道的东西 。她是他梦想的实现，而由于她爱他 所以不顾一切的试图抹杀自己。｜最低级的男性神话 女性不能独立存在 女人仅仅是男性实现的梦想 女性的存在是因为男人的欲望变的不纯洁，如果男人欲望纯洁，除掉了肮脏的物质幻想，那么女人就不复存在了。｜

vertigo｜幻想和现实之间完美协调形成的短路｜终极的深渊不是物质的深渊 而是他人深度的深渊｜“世界之夜”➡️注视别人时 对方眼中的深渊 这是真正把我们拖进去的漩涡｜侧脸&半脸 因为主体是一个局部的东西，我们看到的脸背后是一种虚无 一种nothingness，并且我们会自发地倾向于填补那份虚无➡️主体的匮乏，试图用小a填补 看到现实中缺乏的东西 就会看到主体性 ｜当judy化身玛德琳走出门 就是幻想成真｜幻想实现往往依靠极端暴力维持 影片中是斯考蒂对于judy的强行改造 这是一个羞辱过程，也是对女性欲望的羞辱。

蓝丝绒｜父亲心脏病发后拍草地上暗潮汹涌的蚂蚁➡️父权崩溃的时刻 即象征界符号系统崩溃的时刻 原始的混乱｜这里的逻辑是弗洛伊德式的，我们逃入梦境以躲避现实生活中的僵局 但我们在梦中遇见的事物甚至更加恐怖。所以最终 我们从梦境中逃脱 回到现实中。一开始梦是为那些无法忍受面对现实的人准备的，而最后，现实是为那些无法忍受面对梦的人准备的。｜

《妖夜慌踪》｜男主性交时惨遭失败 已经被施恩式安慰 ，在这种无法忍受情况下主人公进入了他的幻想空间。在这个空间里 妻子变成了金发、赞美其性能力的他在现实中所寻找的样子，而现实世界中本身固有的性交障碍，由性能力缺憾变成了外化的艾迪先生 艾迪先生对他们性交的阻碍｜中间空间 非幻想空间也非现实，这个空间具有一种原始的暴力 和本体论的混乱 ➡️跌入实在界

由于禁令（电影中便是审查），色情需要尽可能真实；但它又要保持最低限度的幻想成分。

《大开眼界》｜狂欢性活动场面 没有情欲的张力 恰好反映了男性幻想的彻底无能 男性幻想追赶女性幻想的失败 这会威胁到男性身份｜

《钢琴教师》｜性活动中现实和幻想之间脆弱的平衡｜学生确实地用与她做爱的方式演绎她的幻想 ，这也意味着她失去了幻想 。幻想破灭时，得到的不是现实 而是一些噩梦般的真实➡️跌入实在界

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！

西方文化的问题，元言论的修正工具。意识需要文明，去对抗野蛮。文明的本质在于阳性的文本，非阴谋性的画面，强化出具象化是哲学家更加高级的工作。有反对的么？从基督教，犹太主义，马克思主义，共产主义，英雄主义，民族主义，消费主义，理想主义，等等的多场景反转，只能说剪辑师政治水平高，观众变态心理潜能巨大。（非贬义）

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.