变态者电影指南

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。

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.