Great sequel to The Pervert’s Guide to Cinema. I liked this one better – less psychoanalysis and more social/political discussion. Again we’ve got clips from films and new stories and music performances, with Zizek talking for the entire runtime, having been placed inside the sets from some of the films (“feel-ums”). Would be worth watching this a few times, a la the Adam Curtis movies, in order to grasp it all, but it’s simply less enjoyable than an Adam Curtis movie. Maybe if they got Craig Baldwin to edit the visuals and Mark Cousins to re-record the voiceover… but I digress.

Some Things:

Good idea to open with They Live. Besides the obvious bit with the clear text commands beneath billboards and magazines (“consume”) he discusses why the fight scene has to be so long and difficult.

Zizek speaks from inside They Live, The Sound of Music, a Coke commercial, A Clockwork Orange (I think), Jaws, Triumph of the Will (heh), The Fall of Berlin, one real location (an airplane graveyard), Taxi Driver, Full Metal Jacket, Brief Encounter, Seconds (good one) and Titanic (including a great post-credits stinger where he plays Dead Leo DiCaprio)

“The basic insight of psychoanalysis is to distinguish between enjoyment and simple pleasures. They are not the same. Enjoyment is precisely enjoyment in disturbed pleasure, even enjoyment in pain, and this excessive factor disturbs the apparently simple relationship between duty and pleasures.”

He uses Kinder Eggs (“a quite astonishing commodity”) as a metaphor about layers of enjoyment. I think by his logic that Edgar Wright movies are Kinder Eggs.

He defends Rammstein, showing concert footage that has been likened to nazi imagery. Actually, nazis come up a lot in this movie, and there’s a long section about Beethoven’s 9th, Ode to Joy (also feat. A Clockwork Orange).

Seconds:

How to properly mock communism: in Loves of a Blonde and The Fireman’s Ball, Milos Forman “mocks precisely the ordinary people in their daily conformism, stupidity, egotism, lust, and so on. It may appear that this is something very arrogant, but no, I think that this is the way to undermine the entire structure of the Stalinist universe, to demonstrate not that leaders are not leaders – they’re always ready to say ‘oh but we are just ordinary people like you’ – no, that there is no mythic people which serves as the ultimate legitimization.”

“How come it is easier for us to imagine the end of all life on earth, an asteroid hitting the planet, than a modest change in our economic order? Perhaps the time has come to set our priorities straight and to become realists by way of demanding what appears as impossible in the economic domain.” Seems that Zizek is advocating for revolution.

“Cinema is the ultimate pervert art. It doesn’t give you what you desire; it tells you what to desire.”

With his focus on the “traumatic dimension of the voice… which distorts reality”, I must believe that narrator Slavoj Zizek, with his heavily accented voice, is watching and interpreting slightly different versions of these movies than the ones I have seen. After all, I watch films and he watches “fillums”.

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A few bits: the three levels of Norman Bates’s house representing the id / ego / superego… the power of the voice represented by Dr. Mabuse… “Music is potentially always a threat”… a look at the intersecting fantasies in Blue Velvet, and the related horror themes of Blue Velvet and Mulholland Drive.

Calls a scene in The Piano Teacher “the most depressive sexual act in the entire history of cinema.” To think I once showed that movie to my girlfriend’s parents!

Wish Katy had finished watching this with me, could’ve helped defend my position on David Lynch movies. And for stupid cinephiles like myself, who love Lynch movies (and The Piano Teacher, and Eyes Wide Shut, and Blue) but get lost in their images and atmosphere without thinking too hard about their psychological implications, he handily explains the stories and characters from a psych point-of-view.

“I think that flowers should be forbidden to children.”

The movie might teach the rewards of closely analyzing a few great movies instead of trying to watch every potentially great movie. This is a lesson I will not be following. Maybe one day…

I feel so vindicated that he picks Alien Resurrection as a film worth discussing. When oh when will that gem get its due? Only the second of the series (after the Ridley Scott original) to count as a horror film, plus it’s good sci-fi and an innovative sequel/reboot that hasn’t been matched since (well, maybe those Chucky movies).

“All modern films are ultimately films about the possibility or impossibility to make a film.”

He compares Cecil B. DeMille to the Wizard of Oz to the mystery man in Lost Highway.

“In order to understand today’s world, we need cinema, literally. It’s only in cinema that we get that crucial dimension which we are not ready to confront in our reality. If you are looking for what is in reality more real than reality itself, look into the cinematic fiction.”