变态者电影指南

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）

-Freudian understanding of fantasies in sex

Usually, people read the lesson of Freudian psychoanalysis as if the secret meaning of everything is sexuality. But this is not what Freud wants to say. I think Freud wants to say the exact opposite. It's not that everything is a metaphor for sexuality, that whatever we are doing, we are always thinking about that. The Freudian question is, but what are we thinking when we are doing that?

In sexuality, it's never only me and my partner, there has to be always some phantasmatic element. There has to be some third imagined element, which makes it possible for me, which enables me to engage in sexuality. If I may be a little bit impertinent and relate to an unfortunate experience, probably known to most of us, how it happens that while one is engaged in sexual activity, all of a sudden one feels stupid, one loses contact with it. As if 'my god, why am I doing these stupid repetitive movements?' Nothing changes in reality, in these strange moments where I, as it were, disconnect. I lose the phantasmatic support.

-Differences between men and women in sexual activities

We men, at least in our standard phallogocentric mode of sexuality, even when we are doing it with the real woman, we are effectively doing it with our fantasy, women are reduced to a masturbatory prop. Woman arouses us in so far as she enters our fantasy frame.

With women, it's different. The true enjoyment is not in doing it but in telling about it afterward. Of course, women enjoy sex immediately, but maybe while they are doing it, they already enact or incorporate this minimal narrative distance so that they are already observing themselves and narrativizing it.

-Sexuality, from pornography to cinema

Although sexuality seems to be about bodies, it's not really about bodies. It's how a bodily activity is reported in words. The ultimate sexual seduction resides in words. The strange tension, and at the same time interconnection, between reality and fantasy, we can get it at its purest in the strange case of pornography. Pornography is a deeply conservative genre. It's not a genre where everything is permitted. It's a genre based on the fundamental prohibition.

It's as if our inner psychic space is too wild and sometimes we have to make love, not to get the real thing but to escape from the real, from the excessive real that we encounter in our fantasizing.

The point is the fragile balance between reality and fantasy dimension in our sexual activity. The notion of fantasy in psychoanalysis is very ambiguous. On the one hand, we have the pacifying aspect of fantasy. Fantasy as the explosion of wild unbearable desires. When fantasy disintegrates, you don't get reality, you get some nightmarish real, too traumatic to be experienced as ordinary reality.

One cannot just throw out the dirty water, all these excessive perverse fantasies and so on, and just keep the healthy clean baby: normal, straight, homosexual, whatever, but some kind of normal politically correct sex. You cannot do that. What if we throw out the baby and keep just the dirty water.

This is the most terrifying loss, where all the co-ordinates of your reality disintegrate. The problem is how to reconstitute yourself. The problem, of course, is is this fantasy reconstituted, is this the ultimate horizon of our experience?

It is through such ontology of unfinished reality that cinema became a truly modern art.

-Communist austerity, terror and musicals

The answer is the psychoanalytic notion of the superego. Superego is not only excessive terror, unconditional junction, the demand of utter sacrifice, but at the same time, obscenity, laughter.

-Chaplin's CITY LIGHTs

And I think that 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 coordinates of our fantasy. We misidentify, wrongly identify him or her, which is why when we discover that we were wrong, love can quickly turn into violence. There is nothing more dangerous or 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.

This moment is always extremely dangerous and pathetic. The beloved falls out of the frame of the idealized coordinates, finally there exposed in his psychological nakedness. "Here I am as what I really am."

-Summary

In order to understand today's world, we need the cinema, literally. It's only I cinema that we get that crucial dimension which we are not ready to confront in our reality. If you are looking for what is, in reality, more real than reality itself, look into the cinematic fiction.

更像是可视化电影论文，如果有关键词的话那会是：paternal authority,gaze, materialism···里面一直提及的导演也是Hitchcock，Tarkovsky，Lynch。我会一直遗憾没有在最合适的时间去接触好莱坞电影（和动画片）。无论是穆尔维、齐泽克还是很多电影理论家都曾炫目于好莱坞的梦幻，因而有position去研究或批评，而我未曾沉浸过因而就世界电影版图来说缺失了一大半。以下为笔记关键词：

1、human voice：not a medium for expressing the depth of human subjectivity, but a foreign intruder.

2、partial objects: death drive.

the only way for me to get rid of this autonomous partial object is to become this object.

3、fiction:

sth shatters the coordinates of our reality. We have to fictionalise（虚构） it . So reality is in illusion.

We are installed within the symbolic order, so disintegrated us from the reality.

desire is a wound of reality and the reality can hurt the reality vice versa.(love is always mortifying love.)

precisely because I think it’s only a game, it’s only a persona, a self-image I adopt in virtual space, I can be there much more truthful. I can enact there an identity which is much closer to my true self.

It’s only in cinema that we get that crucial dimension which we are not ready to confront in our reality.

补充：象征界对想象界的侵入

4、transfer the emotion

press different buttons there and the appropriate emotions will be awakened in our mind.

5、form

It has a message of its own.

it is this background, this background of Porto-reality(原现实）, a real which is more dense, more fundamental than the narrative reality, the story that we observe.

补充：亚里士多德认为事物的本质是凭借形式使得质料成为某种东西。形式让质料有了实质，事物的界限让他们有了形式。

黑格尔 《美学》: “美的要素可分为两种: 内在的，即内容; 另一种是外在的，即内容借以现出意蕴和特性的东西。

6、I know very well, but…

fetishist

最后，不要过度依赖精神分析，更不要以某理论家思考为圭臬，保持自我理性思考。

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。

第一部分

《藏娇记》

现实再现电影的神奇体验

幻象空间投射到场景上-电影艺术

《黑客帝国》

虚构已构成我们的现实，

拿去虚构的符号，也失去现实

第三种药丸：幻想中的真实

《群鸟》

恋母…“为什么鸟儿会攻击？”

外物的闯入，将现实撕裂开（现实瓦解）

鸟的攻击：母性超我的爆发，母性形象的阻止

鸟群：原始的乱伦能量

《惊魂记》母亲房子的地窖

二楼-超我 死去母亲的超我形象

一楼-自我 正常的儿子

地下室-本我 非正当冲动

超我和本我的深度联系

《鸭羹》马克斯三兄弟

格劳乔 神经活跃 超我

奇考 自大 自我

哈波 失声 本我-冲动是无声的

《恶作剧》

本我-混沌 孩子般天真无邪、原始的邪恶 攻击性

绝对堕落和天真的独特结合

《驱魔人》

《马布斯博士的遗嘱》

声音 罪责感 复杂的恋母情结

无法摆脱 如何驯化？

卓别林《大独裁者》

人们给他鼓掌的方式与给希特勒鼓掌的方式一样

音乐的最终救赎/对于音乐，我们永远无法确定

外在化内在激情，一直是个潜在威胁

大卫林奇《穆赫兰道》倒下的女人，但歌声继续

物体局部自放现象（？）

《爱丽丝梦游仙境》柴郡猫 消失但笑容仍在

“没有身体的器官”——死亡驱力 恶魔般的不死性

《红菱艳》不死之物 红舞鞋

《奇爱博士》不爱之物 奇爱博士的手抬起来

个性的核心所在

《搏击俱乐部》

《死亡之夜》摧毁木偶，但他的说话声音像木偶一样扭曲

唯一解决物体局部自放的途径是，成为这个物体

《蓝丝绒》幻想父权的补充 可笑的暴力的奇观

核心问题 桃乐丝的被动

交织的幻想，在三个焦点间摇摆不定

《迷魂记》斯考蒂的偷窥位置，透过缝隙观察

玛德琳好像真的在现实中——想象的幻想的凝视之处

《窃听大阴谋》凝视是一个模糊的点 一个盲点

被凝视的对象也会回应凝视

吉恩接近马桶 与《惊魂记》的对话

焦点对象 变为凝视的眼睛

最恐怖的事情：当冲水不起作用……

对象（剩余物）从黑暗世界（混乱的原始的现实）回来了

《惊魂记》诺曼贝茨试图清理浴室，几乎十分钟的清理细节

出色完成工作的满足感……不是构建新的东西，而是清理污点痕迹的工作

牵制混乱的黑暗世界（爆发并吞噬我们）

《群鸟》现实的质感被扭曲打乱（鸟的第一次攻击）欲望通过扭曲现实而刻画进现实

欲望是现实的伤口

电影——唤起欲望并表现欲望，并与之保持安全距离

第二部分

性 幻想元素使进行性行为

失去了幻想的支持

《黑客帝国》尼奥从母体醒来，意识到自己在胎儿容器中

为什么母体需要我们的能量？-为什么能量（力比多）需要母体（幻想的虚拟世界）？

为什么我们需要幻想的支撑？

《飞向太空》塔可夫斯基

科幻小说的主题：身份机器

直接实现你最深的幻想（欲望）

根本问题：如何摆脱妻子？

妻子意识到她没有一致性、没有真正的生命，只是他梦想的实现（幽灵的存在难以摆脱）

最低级的男性神话：女人不能独立存在

结尾：与父亲和解（？？）

《迷魂记》

“陷入自己的游戏之中”

表象胜过现实

第一部分 玛德琳的自杀，理想得以幸存

致命女人代表的迷人形象是死亡

终极的深渊不是恐怖的深渊，而是他人深度的深渊

“哲学之夜”

主体是一个局部的东西，我们所看见的一张脸，它的背后是一种虚无

自发地填充那份虚无：要看到现实中缺乏的东西，就会看到主体性

幻想实现了-极端的暴力来实现

大卫林奇《穆赫兰道》《我心狂野》

感官过度强烈的时刻，虚构的幻想空间过于强烈，失去安全距离

《蓝丝绒》

父亲心脏病发作-象征性的父权崩溃 镜头穿透草地，使我们看到草地的真实面目

逃入梦境，以躲避生活中的僵局，但梦境更恐怖，再逃出梦境，回到现实

《妖夜慌踪》

现实和幻想两个维度的并列呈现

单调灰暗中上阶级的现实

幻想空间中，重塑社会环境-所寻找东西的实现？

障碍被外在化

中间空间（非幻想非现实）

“你永远得不到我”

焦点：女性欲望之谜

女性主体性之谜-因果之间的鸿沟（她的反应如何？）

《假面》

真正的快乐不在于做，而在于事后讲述（？？）

做爱时，制定或融入这种最小的叙事距离，观察自己并叙述

抵制闪回的诱惑…所以最色情（性爱与身体无关，是身体活动如何用语言描述

《裸体切割》

色情建立在一个基本的禁令之上

尽可能真实，保持最低限度的幻想成分

《大开眼戒》对幻想有着无比精确教训的电影

男主拼命追赶她的幻想，最终以失败告终

狂欢太平淡了，完全没有吸引力，没有情欲的张力……重点：男性幻想的彻底无能

男性幻想如何追赶不上女性幻想，女性幻想中的过多欲望，威胁到男性身份

《迷魂记》斯考蒂 残酷 完全把女人作为欲望实体抹杀，对他来说是欲望的条件

或：受虐狂，我写下了我的下贱情景

逃避在幻想中遇到的过度真实

《我心狂野》激起幻想，然后拒绝行动

《钢琴教师》erika某种程度上是一个还没有性主体化的人，缺少和她欲望相对应的幻想

观看不是为了激起性欲，“像一个留校学生一样观看”，只是为了得到欲望的协调，学习如何变得兴奋（？？？）

幻想的安抚一面/狂野的难以忍受的欲望的爆发

最压抑的性行为……………………

她失去了幻想

《蓝》如何在脏水里建立秩序……

茱莉发现丈夫并不是自己以前想的那样（现实坐标瓦解）如何重塑自己？

与现实保持适当的距离（著名的环形镜头，“自由漂浮”，只有通过幻想才能维持性关系…………

这种幻想是重构的吗？是我们经验的最终视界吗？

音乐作为癖好，迷人的存在，隐藏焦虑的深渊“宗教”，入睡虚假的幸福

透过一面玻璃，茱莉在哭——幻想的重构

“我现在可以哀悼了，因为它不再立刻影响我”

重构幻想维持与世界关系，失去完全真实的接受焦虑的时刻

《群鸟》声音层面的焦虑：沉默

母亲发现邻居死亡，她的叫声卡在喉咙里

情感本身具有欺骗性，唯一不具欺骗性的情感是焦虑

第三部分

《异形4》世界是半成品的造物，还没有完全构成

我们可能是、但并没有成为的替代版本在困扰着我们，未完成的现实的存在论

《狗镇》如何让今天的人依然相信电影的魔力呢？

布景（房屋被地上的线条替代）

知道是虚构的故事，但依然为它着迷——幻想存在

《绿野仙踪》去神秘化的逻辑 表象具有效力，有其自己的真实性

以一种有条件的方式相信

《弗兰肯斯坦》“你必将经历恐怖”

《十诫》操纵事件的幕后者——意识形态

从/组织我们的欲望/的空间的意义上来说

《妖夜慌踪》象征导演/摄影师的神秘人

对我们毫无兴趣的人&当他在你面前时，他会看透你

卡夫卡小说里的法庭，法律/法庭只有在你要求时才会出现

《群鸟》情绪操控

电影形式（自己的信息）的某种自主性

《海角擒凶》《后窗》《捉贼记》《西北偏北》《迷魂记》同样的视觉主题

电影体验密度

树 “原质” 超大的扭曲………………

《群鸟》中引发的火灾

a.短镜头，火灾镜头和人物镜头的标准切换

b.切换到城市上方，看到整个城镇

标准的定场镜头-鸟的进入-上帝视角的镜头变为邪恶的凝视，鸟群攻击的凝视

《惊魂记》

“我很清楚，但是……”的逻辑

一切都指向谋杀

a.抬头看楼梯-紧张，主体和楼梯之间，深不可测的威胁

b.上帝视角的整个场景的图像-被迫承担凶手的位置，不知道“自己是谁”，发现自己身上的可怕的一面，作为邪恶神灵意志的工具

《星球大战3》不朽是最可怕的事

阿纳金向父亲的转变-不想死的父亲怪物

弗洛伊德式的原始的父亲，可憎的过度强大的父亲

焦虑的最终对象是一个活着的父亲

《蓝丝绒》弗兰克

荒唐的暴力喜剧 欺骗性

荒谬的父亲形象 道德的焦点：立刻就是菲勒斯

欣然接受不朽 未阉割的能量

把菲勒斯作为勋章佩戴的普通人，象征性权威

你不是菲勒斯，你拥有菲勒斯

集体农庄音乐剧………恐怖 紧缩政策和音乐剧

“超我” 恐怖 无条件的命令，彻底牺牲的要求

同时也是淫秽 笑声

《伊凡雷帝2》对斯大林时代的加密刻画

恐怖本身以音乐剧形式上演

与政治恐怖的现实？

剥夺尊严，表现得像木偶（表现得像动画人物）

《布鲁托的审判日》法律严厉无情残酷，同时也在嘲笑我们

根本的错觉-对虚构不够认真

心理的真相…………因为我认为只是一个游戏，我才能塑造一个更接近真实自我的身份，虚构借口来展示真实面目

《潜行者》在这个区域里，你的欲望能够实现，前提是你能够表达出你的愿望，但你永远无法做到-解决方法，宗教蒙昧主义，自我牺牲的姿态

《索拉里斯》里拥有身份机器作为实现噩梦欲望恐惧的对象

电影的形式：时间本身作为前叙事密度的物质元素，感受到这种时间的惰性和单调

时间本身的密度

我们看到的事物更多的是时间的标记

对现实的物质结构的瓦解提供了精神深度

设定一个限制，尽管一切保持原样，但仍被视作另一个地方，作为投射你的信仰、恐惧、内心世界的东西的地方——电影银幕上的茫茫白色

《城市之光》

第一个场景 提供坐标

典型的喜剧原型：被误认为一个人，一个点，一个令人不安的“污点”

希望抹去自己/希望被人注意

对我们困境的隐喻：当我们爱上某人，我们并没有接受他/她的真实身份，只要他符合我们的认知坐标

爱-暴力 羞辱性的爱