The "fantasy" "violence" of the Psychopath's Guide to Ideology

Destini 2022-09-20 17:06:54

A

monologue

The great thing about the Taxi Driver is that it brings this brutal outburst of violence to it's radical suicidal dimension. (31:44) The great thing about the Taxi Driver is that it brings this brutal outburst of violence to it's radical suicidal dimension
. The suicidal dimension of essence. 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)
The psychology of a fragile, dysfunctional person.

Video Clip

- 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)


My note

The preceding paragraph describes a proposition: the most essential description of violence is a suicidal choice made by ideology.





Two

Monologues In the Taxi Driver, Travis, the hero, is

bothered by the young prostitute played by Jody Foster. (32:55) What bothers him are, of Of course as is always the case, precisely his fantasies. (32:43) What really puzzled him was often the same reason, precisely his fantasies Fantasies of her. Victim who of her hidden pleasure. (32:49) fantasies She, the victim behind the hidden cheerful prostitute. And fantasies are not just a private matter of individuals. Fantasies are the central stuff our ideologies are made of. (33:00) Fantasies are not just a matter of individuals. Fantasies are the core creation of ideologies. Fantasy is in psychoanalytical perspective fundamentally a lie. (33:09)










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
) It's more of a specific lie used to cover up logical loopholes.
When things are blurred, when we cannot really get to know things, fantasy provides an easy answer.(33:28) When things are blurred, when we cannot really get to know things, fantasy provides an easy answer
. 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)
desired illusion, but created the illusion that I was wanted by others.
Taxi Driver is an unacknowledged remake of perhaps the greatest of John Ford's westerns, his late classic the Searchers. (34:00)
Taxi Driver isn't quite as famous as the director's greatest work, Searcher.


In both films, the hero tries to save a young woman who is perceived as a victim of brutal abuse. (34:19) In both films, the hero tries to save
the teenage girl they think is being abused. 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) In Taxi driver the young Jodie Foster is controlled by a ruthless pimp. (34:42) In Taxi driver the young Jodie Foster is controlled by a ruthless pimp . Video Clip - 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) My note










The above text expresses a psychological cognition: fantasy is deliberately fabricated to cover up the cracks in cognition, and fantasy is not about what one has obtained, but what one is needed.



Three

Monologues

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)
But what really makes the hero's violence deeply questioned is that the victim is not just the victim, the victim, in fact In a very perverted way, enjoying the fact that she was a victim. So to put it simply, she doesn't want to be redeemed, she refuses to be redeemed.

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)
This is a huge question, and if we jump into the political dimension, the big question about US military interventions, especially those called humanitarian interventions.
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) From Iraq to Vietnam half a century ago. We try to help them but what if they really did not want our help? (36:12
) They don't want to be helped at all? The result of this debilitating
deadlock can only be an outburst of violence . (36:17) The biggest paradox of my commentary heroism is that the victims themselves have no intention of being redeemed, just like the deadlock in the United States in various wars, and this impotent deadlock is ultimately reflected in the outbreak of violence of. 4 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) We see in the killing spree that erupted in the taxi driver













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)
Violence is not abstract Violence, it's a concrete savage intervention that tries to cover up what's missing from the personal cognitive map, you lack a clear sense of what's going on.
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)
Exactly where we are ? This problem also led to the July 2011 massacre on the island of Uet in Breivik, Norway, which killed 77 victims.
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)
A lot of people try to ignore this and just think the killer is crazy, but I think the killer's personal manifesto and worth studying.
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 )
This incident clearly shows that the violence, not only in the theory of the murderer but also in practice, is a kind of incomprehension and confusion about the globalization of capitalism. This is exactly what leads to the taxi killing spree among taxi drivers.

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)
When he is at the end, symbolically points a gun with his fingers Pointing to his head, clearly expressing that all the violence is nothing but suicide.
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)
But to a certain extent, he did express a correct thing. You should break out this conflict within you, and you should direct this conflict in the direction of a clear ego, to the ideology that binds you and rules you. (Then to solve it, I added ~)
My note:

In this paragraph, the author, in the face of various status quo powerless, proposed a solution, using the method of internal violence to make the ideology that binds the self disappear, so as to obtain free.

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Extended Reading

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The Pervert's Guide to Ideology quotes

  • Slavoj Zizek: The truly disturbing thing about The Dark Knight - is that it elevates lie into a general social principal, - into the principal of organisation - of our social political life. As if our societies can remain stable, - can function, only if based on a lie. As if telling the truth, and this telling the truth - embodies in Joker means distraction. Disintegration of the social order.

  • Slavoj Zizek: This is an old conservative wisdom - asserted long ago by philosophers from Plato - especially, and then Immanuel Kant, Edmond Burke and so on and so on. This idea that the truth is too strong. That a politician should be a cynicist who, - although he knows what is true, tells to ordinary people what Plato called 'a noble fable' - a lie.