一

独白

The great thing about the Taxi Driver is that it brings this brutal outburst of violence to it’s radical suicidal dimension. (31:44)
《出租车司机》最精彩的部分在于它将野蛮的暴力爆发带进了其最本质的自杀维度。
We are not dealing here with something which simply concerns the fragile psychology of a distorted person, what Travis in Taxi Driver is, it has something to do with ideology.(32:05)
我们在这所处理的不是简简单单的关心一个脆弱的失常的人的心理。

影片片段

- Listen you fuckers, you screw-heads,here is a man who would not take it anymore. Who would not-
- Listen you fuckers you screw-heads,Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is someone who stood up. (32:27)


我的注释

上段文字描述了一个命题：暴力最本质的描述是意识形态做出的一种自杀式的选择。





                                                                            二

独白

In the Taxi Driver,Travis, the hero, is bothered by the young prostitute played by Jody Foster.(32:55)
在出租车司机中，英雄，正在被一个年轻的妓女所困扰
What bothers him are, of course as is always the case, precisely his fantasies. (32:43)
真正困惑他的，往往是同一个原因，精确的就是他的幻想
Fantasies of her. Victim who of her hidden pleasure.(32:49)
幻想的她，那个隐藏欢快的妓女背后的受害者。
And fantasies are not just a private matter of individuals. Fantasies are the central stuff our ideologies are made of. (33:00)
幻想并不是仅仅一件关于个体的事情，幻想是意识形态最核心的创造。

Fantasy is in psychoanalytical perspective fundamentally a lie. (33:09) 幻想从精神分析角度来讲根本就是一个谎言

Not a lie in the sense that it’s just a fantasy and not a reality, but a lie in the sense that fantasy covers up a certain gap in consistency. (33:20)
不仅仅是一个关于幻想和不现实的自我欺骗，更是一个用于掩盖逻辑漏洞的特定谎言。
When things are blurred, when we cannot really get to know things, fantasy provides an easy answer.(33:28)
当事情变得很模糊，当我们无法真正的去了解一个事物，幻想成为了最简单的解释。
The usual mode of fantasy is to construct a scene, not a scene where I get what I desire but a scene in which I imagine myself as desire by others. (33:47)
幻想的通常模式并不是制造一个我找到了我所需要的幻觉，而是制造了一个我被别人所有要的幻觉。
Taxi Driver is an unacknowledged remake of perhaps the greatest of John Ford’s westerns, his late classic the Searchers（电影名）.(34:00)
《出租车司机》并没有导演的最经典作品《searcher》那么著名。
 

In both films, the hero tries to save a young woman who is perceived as a victim of brutal abuse. (34:19)
在两部电影里，英雄都试图拯救那个他们认为正被虐待的少女。

In the Searchers the young Nathalie Wood was kidnapped and lived for a couple of years as the wife of an Indian chief. (34:34)
在searcher中是那个被绑架并成为了印第安首领妻子很多年的年轻的 Nathalie Wood。
In Taxi driver the young Jodie Foster is controlled by a ruthless pimp.(34:42)
在《出租车司机》里是那个被无情的皮条客控制的妓女。

影片片段

-You walk out with those fucking creeps and lowlifes and degenerates out on the streets and sell your little pussy for nothing man? For some low life pimp?Stands in a hall.I’m the- I’m square? You’re the one that’s square man. I don’t go screw and fuck with a bunch of killers and junkies the way you do.(35:01)

我的注释

上述文字表述了一个心理学认知：幻想是为了掩盖认知中裂痕而被刻意编造出来的，而幻想并不是幻想自己获得了什么，而是自己被需求。



                                                                               三

独白

But what really drives this violence of the hero is a deep suspicion that the victim is not simply a victim. That the victim, effectively in a perverted way, enjoys or participates in what appears as her victimhood.So that, to put it very simply, she doesn’t want to be redeemed, she resists it. (35:32)
但是真正使得英雄的暴力行为受到深深质疑的是那个受害者并不是单纯的受害者，那个受害者，实际上用一种很变态的方式，享受着她成为受害者的这个事实。所以简单来说，她并不想被救赎，她拒绝被救赎。

And this is the big problem, if I make an immediate jump to the political dimension, the big problem of American military interventions, especially so-called humanitarian interventions.(35:58)
这是一个庞大的问题，如果我们跳入政治维度，关于美国军事干预的大问题，尤其是那些被叫做人道主义的干预。
From Iraq to already Vietnam half a century ago. We try to help them but what if they really did not want our help? (36:12)
从伊拉克到半个世纪前的越南，我们尝试着去帮助他们，但如果他们根本不想被帮助呢？
The result of this debilitating deadlock can only be an outburst of violence.
这种使人衰弱的僵局最终只能带来暴力的爆发。
(36:17)

我的注释

英雄主义最大的矛盾在于被害者本身并无意被救赎，就像美国在各种战争中的僵局一样，而这种让人无能为力的僵局最终是以暴力的爆发为体现的。

                              

                                                                                 四

We do get, towards the end of the film Travis exploding in a killing spree. Killing the pimps, all the people around the young girl. (36:33)
我们从出租车司机里 爆发的杀人狂欢中可以看出
Violence is never just abstract violence.It’s a kind of brutal intervention in the real to cover up a certain impotence concerning what we may call cognitive mapping. You lack a clear picture of what’s going on.(37:00)
暴力并不是抽象的暴力，这是一种具体的野蛮的干涉，试图掩盖那些在个人认知地图所缺失的部分，你缺乏一种对到底发生了什么的清晰认知
Where are we? Exactly the same holds for the terrifying bouts of violence Anders Behring Breivik’s murder spree in Oslo. Exploding a bomb in front of the government building and then killing dozens of young members of the social democratic party in an island close to Oslo. (37:24)
我们到底处于什么样的境地？这一问题同样导致了2011年7月挪威，布雷维克在于特岛的大屠杀，杀害了77名受害者。
Many commentators tried to dismiss this as a clear case of personal insanity but I think Breivik’s manifesto is well worth reading.(37:38)
许多人尝试忽略这个，仅仅认为杀手疯了，但是我觉得杀手个人的宣言和值得研究。
it is palpably clear there how this violence, that Breivik not only theorised about but also enacted , is a reaction to the impenetrability and confusion of global capital. It’s exactly like Travis Bickle’s killing spree at the end of the Taxi Driver. (38:06)
这事件清晰的显示出这暴力，不仅仅存在于凶手的理论并且被实施的暴力， 是对资本主义全球化的一种无法理解和困惑。这正是出租车司机里导致出租车杀人狂欢的理由。

When he is there, barely alive, he symbolically with his fingers points a gun at his own head; clear sign that all this violence was basically suicidal.(38:21)
当他在最后，象征性的用指头比划一把枪指着自己的脑袋，清晰的表达着所有的所有的暴力只不过是一种自杀。
He was on the right path, in a way, Travis in the Taxi Driver.You should have the outburst of violence, and you should direct it at yourself, but in a very specific way, at what in yourself chains you, ties you to the ruling ideology.(38:41)
不过从某种程度上讲，他确实表达了一件正确的事情。你应该内在的爆发这种冲突，你应该让这种冲突指向明确的自我方向，指向那个束缚你的统治你的意识形态。（然后解决它，我加的~）
我的注释：

作者在本段，在面临无能为力的种种现状时，提出了一个解决办法，用内在爆发暴力的方法，使得束缚自我的意识形态消失，从而获得自由。