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。

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