Sonoko's eroticism is very similar to what Zizek said about obscenity. In this film, Sonoko directly points to the privilege of patriarchy: Kyoko's parents, played by Mamyo Tote, have casual sex at home, but they have sex with their daughter. Saying sex is dirty. Clearly, sex is a privilege in this family (and it hides itself in language), and it is shameful and lascivious to human nature without it. Politics is also a kind of distribution of pleasure, some people can enjoy pleasure directly, while others just desire the pleasure of others. First of all, it is necessary to divide the visible and invisible, to make the invisible more attractive, so Sono Ziwen borrowed the lines in the play to say, "If you are not innocent enough to have a heart that is about to be broken, you cannot be a prostitute" (Eph. Lloyd considered prostitutes to be depraved mothers, and he did not see the need for purity in contemporary Japan). For example, middle school students who wear JK for dating must show a pure and regular image to make the body under the clothes more attractive. The temptation is free and ubiquitous, but the purpose of the temptation is to make people take out their pockets and buy them in the package. the pleasure of the next. This is the logic of the consumer society. It seems that money is the key to unlocking all privileges and dreams. For some otaku groups who have difficulty communicating, money is also the only way for them to contact the girls they long for in an upright manner.
Both Zizek and Sono Ziwen would agree that our most prosaic daily life is itself pornographic because it is subordinate to the obscene operation of ideology, so anti-pornography needs to be expressed in a style that goes beyond everyday life. Takes us into a bright yellow room with strong expressionism.
First, the easiest strategy for anti-eroticism is to make otherwise bloody nudity scenes bland (as in Kyoko's lifeless defecation naked at the beginning) or uncomfortable (as in Kyoko's loud calls to the men and women having sex on the screen) Push harder and vomit on its own) and so on. However, Sonoko Wen did more and was more ruthless. He succeeded in evoking a feeling of anxiety. Lacan said the anxiety was generated when the phallus that was supposed to be hidden was revealed, and the phallus here is staring at the shooting scene. The eye, or more directly the camera, has power over the entire scene in the hidden place. Kyoko, who was originally in the position of the abuser, was scolded by other staff members, and the SM game also lost its original pornography and became very absurd.
Kyoko carried the abuser's lines under the ridicule and rebuke of the staff
Before this scene, Yuan Ziwen had already hinted at the openness of this seemingly closed room, its "boundary" can be deconstructed and constructed, the eyes staring at this room can be watched from behind the wall, but when the heroine said this When it was a movie, she couldn't find the filming staff or any exit from the room. The "impossible space" behind the painting was an excellent metaphor for power, and she was trapped in a kind of fiction. , unable to escape this fictional Kyoko repeatedly shouted "this is not my life".
[img=14:C]The composition implies that there is space for staring behind the painting on the wall
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With Jingzi's own will, he can't find an exit, and he can't see the "truth"
At this time, the front of Jingzi turned into an auditorium again, and her resistance immediately turned into a performance
After removing it, the front of Jingzi turned into an auditorium again, and her resistance immediately turned into a performance
garden director. It was not enough to be here. Since the business card is called anti-eroticism, some stronger prescriptions must be given. The dominant phallus, mentioned earlier, can only function in its absence, but it is powerful because it is also firmly present in the human mental structure, it is a pair of internalized eyes (Foucault called it). for the panoramic prison gaze). For Kyoko, there is no privacy in sex, and sex is a performance for the other (the director, the audience, and most importantly, her father, a large part of the reason she makes pornographic films is out of revenge against her father), And once the person watching does not exist, she will fall into a huge anxiety again. It is the gaze of the other that gives her sexual meaning. She cannot face a meaningless sex, which is why she goes to make pornographic movies. one. (Reminds me of the AV actress in "Mosaic Japan" who had to have the camera on after having sex with the person she liked.)
The next episode here is about Kyoko going to an audition for an erotic film
If the previous erotic clips evoked anxiety, the next "erotic clip" evokes a deeper fear. Kyoko opened a video of her letting a rude man on the side of the road take her virginity, which had been played twice in the same scene before. But this time, no one other than Kyoko (including us in the audience) can see anyone in this scene, this scene only has traumatic significance for Kyoko, and this wound, her existence itself, is not seen , is Lacan's slashed subject S. Isn't this the creepiest core of porn? Maybe it's not the intense sex or the sexy actors that make us feel bloody—they aren't even actually seen, but it's the lustful stare itself that gives the scene its erotic function. Our imaginings of hedonic sexual relationships on screen shield this terrifying core of reality, and we can only return to sensual pleasures by forgetting this truth. If Kyoko's enjoyment is on the symbolic level, and she must be watched by the big Other, then the enjoyment of ordinary AV viewers is on the imaginary level, where they only meet their own fantasies.
Garden director's anti-pornography is not simply reflected in form. Pornography is a production of the body. For example, the main character Mamyo Tote was a graduate student of AKB. Just like school production and delivery to social workers, AKB produces the body as an idol, and members must surrender part of their body sovereignty to allow Let the company control the "visible" scope. If Ma Miao had not "graduated" from AKB, she would not have been able to make such a large-scale movie. If being produced is received from the outside in (as we often say "cramming education"), then the way to fight against being produced is to consume oneself.
This consumption is initially manifested as vomiting in the film. Kyoko always vomits when receiving sexual stimulation, what if we don't simply understand it as a "nausea", but an orgasm from the esophagus? That is to say, vomiting is not simply a painful act, but a painful pleasure, which is accompanied by the release of the tension of the squeeze (in the stomach). When filled with the desires of the other (eg you want to be the woman who is the object of consumption), the only direction of subjectivation is to pursue a "nothing" (many examples can be found in the clinical context of anorexia) "The act of releasing, from the produced subject to the producing subject, combines the pleasures of ejaculation and childbirth. When Ma Miao received the film, she said, "I have a strong desire to say this line", because it overlapped with her personal experience. Through acting, she also disciplined herself from her family and society. excreted.
To be released, there must be an exit, and the film is full of trapped symbols (sealed rooms, lizards in bottles, SM games with dog pens...). And this ultimate exit is undoubtedly death. The younger sister was determined to protect her purity with death (actually to escape the shame her parents instilled in her) because she witnessed the sexual intercourse of her parents, she walked from the family's warm dining table to a place that looked like an AV set, and took out a knife with a smile Ask a young man to kill himself. That is to say, the phallus of this typical erotic scene was replaced by a knife. Contrary to typical male fantasies, what she asks of men is not to fill her lack with phallus, but to use it to open her lack and let her drain all other desires, all purity and filth, on the poster. The painting fully demonstrates this. In recent years, the wrist cutting of girls has almost become popular. Maybe this is also a way for them to resist in the consumer society?
Strong lights, white curtains, red sofas, sailor suits, restrained men and women, you know. . .
A very symbolic painting.
There may be more parts of this film worth reading, but no amount of reading can replace Director Yuan's video poems (or perhaps video essays). Three lines of poems are written in the poster: A
virgin is a prostitute, a
free but a slave is
too melancholy. The
first two lines seem to be appropriating the famous anti-totalitarian writer George Orwell's famous words. Three sentences, and that's probably the closest sentence to the women who go part-time in the sex industry on Sundays. Some people say that the cinema is the place of revolution, but "revolution" is often just an entertainment project for intellectuals who want to "revolution", and has nothing to do with others. In the interview, after seeing the mother who starred in Fushou Mamiao watching this movie, she complained that her daughter "speaking lines is not the same feeling as Ms. Mariko", if this movie can really make her feel and understand that "too much" Melancholy Sunday", Ma Miao is really a happy child, Sono Zi Wen is really a capable director.
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