The House That Jack Built negative comment
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Graham 2022-03-24 09:02:39
After watching halftime, I really don't want to continue spending time on it. The first halfway exit. It's not a matter of standard bloody dialogue, but rather the insipidity of killing people like arhat. tedious. Pulled out Virgil and sat down. Everyone has the right to explore philosophy and art, and evildoers also have the pursuit of perfection and good philosophy. Losing the criterion of good and evil, the fine art of the Nazis can also be enshrined in the palace of art. The girl behind her laughed breathlessly. The hand-held collage animation PPT smells of the director's aging and decay. A sick author is left to a sick audience to worship. I'd rather spend the second half reading the comedy of Dante. 2018.10.18, UCCA
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Loren 2022-03-24 09:02:39
A letter of confession, confession, eulogy, and hymn dedicated to Lars von Trier. First, the director constantly overthrows and accepts the curse to comfort the self-absorbed and powerless self, and completes self-abuse in the image of an abuser. Only by forcing himself into the most extreme darkness can he recognize the most subtle light. Second, the director creates all kinds of terrifying situations that challenge the viewer's bottom line like a work of art, and lure everyone to release the ghosts that have been hidden in their hearts for a long time. All discomfort, numbness, fear and pleasure are the projections of your own subconscious. Third, all the ultimate artists or politicians, such as the immortal greats and sinners who stand on the top of no one, are aiming at the unreachable light years away, on this rough road without a frame of reference. In , everything becomes a fuzzy area, and the unknown is the most dangerous and perfect other side.
The House That Jack Built quotes
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Jack: Imagine a man walking down a street underneath the street lamps. Right under a lamp, is shadow is the densest but also the tiniest. Then, when he starts to move, his shadow grows in front of him. The shadow becomes bigger and bigger while it thins out. And the shadow behind him from the next lamp post emerges and becomes shorter and shorter until it reaches its ultimate density, as the man stands directly underneath the light. Let's say that the man standing underneath the first lamp post is me when I've just committed a murder. I feel strong and content. I start to walk, and the shadow in front of me grows bigger, like my pleasure. But at the same time, pain is on its way, represented by the shadow behind me from the next lamp post. And at the midpoint between the lamp posts, the pain is so great it outweighs my pleasure. And with every step forward, pleasure dissolves and pain intensifies behind me. Finally, the pain is so unbearably intense that I have to act. So when I reach the point with the next lamp in zenith, I will kill again.
Verge: I know you want to be someone special, Jack, but let's face it, this illustration can be used for any addict's tale of woe. The alcoholic empties the bottle at the zenith etc, etc. But what about the family?
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Jack: Albert Speer invented "The Theory of Ruin Value" by examining the Greek and Roman ruins, and constructed his buildings using both weaker and stronger materials so that they, in a thousand years, would appear as aesthetically perfect ruins.
Verge: Which fortunately were smashed to atoms in mere few years after their construction. Hubris is punished by nemesis if I may use an old-fashioned expression.
Jack: But an artist must be cynical and not worry about the welfare of humans or Gods in his art. This talks about the value of ruins makes it too obvious, not to mention, another subject. The value of icons.
[pause]
Jack: The Stuka. Without a doubt the world's most beautiful airplane and to top it off featuring an eerily sophisticated detail. I'm sure you know what I'm talking about.
Verge: No, by God that has never interested me but do tell me about it.
Jack: The Stuka was a dive-bomber. They say that the pilots actually passed out for a brief moment during the actual dive.
Verge: But the detail, per favore.
Jack: Fantastic. Incomparable. Notice the sound when the plane dives.
Verge: The screeching sound. A result of poor design if you ask me.
Jack: Poor design? Please. On the contrary, the screeching was intrinsic sirens were attached to the undercarriage of the plane purposely designed as a psychological act of war. No one who heard it in action will ever forget that sound. It made the blood run cold in everyone's veins. Know as Jericho's Trumpet.
Verge: Sadistic, but in your eyes probably a masterpiece.
Jack: No, more than a masterpiece. An icon. The person or persons, who conceived the Stuka and its functions were icon-creators. What I'm getting at is this: As disinclined as the world is to acknowledge the beauty of decay it's just as disinclined to give credit to those... no, credit to us, who create the real icons of this planet. We are deemed the ultimate evil. All the icons that have had and always will have an impact in the world are for me extravagant art.
[pause]
Jack: The noble rot.
Verge: STOP IT... YOU ANTICHRIST! I DON'T RECALL EVER HAVING ESCORTED A SO THOROUGHLY DEPRAVED PERSON AS YOU, JACK. Since you have now apparently set your heart in mass extermination let me make a brief comment about the Buchenwald camp that emphasises my attitude towards art and love.
[pause]
Verge: In the middle of this concentration camp stood a tree and not just any old tree, but an oak and not just any oak, but the one Goethe when he was young, sat beneath and wrote some of humanity's most important works. Goethe. Here you can talk about masterpieces and the value of icons! The personification of humanism, dignity, culture and goodness was by the irony of faith suddenly present in the middle of one of the all time greatest crimes against humanity.