bell hooks, ethnographic gaze, an outsider looking in, does not oppose the way hegemonic whiteness 'represents' blackness but rather assumes an imperial overseeing position that is in no way progressive or counterhegemonic. Judith Butler, camera itself is empowered as phallic instrument, the vehicle through which the transubstantiation occurs, an instrument and effect of lesbian desire, to enter into a logic of fetishization which installs the ambivalence of that 'performance as related to our own. 但說實話自己觀影時沒覺得這部的gaze有多problematic/patronizing東北往事第二季可能因為我本身就是一個凝視這個群體的外人
挺糾結(jié)的觀影體驗除了確定沒看懂以外其它的都不確定信息很豐富但大部分都因為缺少指向而顯得不可解(至少在觀影的當下)塔可夫斯基似乎無意給觀眾以任何幫助和解脫我在困惑的同時也感到煩擾內(nèi)容和疑問同樣多的《和兒子弄了一天沒說話》與緩慢且單向度的《長相思39集泄露版》很難說哪個更「東北往事第二季」 但只要放棄追求某種抽象的意義這部電影是可以被感受的——一個片段突然成為先前謎面的注解或者自行顯現(xiàn)出某種獨立的詩意不時有一些意料之外令人屏息的美悚然打斷安詳?shù)拈L鏡頭與詩朗誦 給跟我類似的土狗觀眾的建議:go with the flow……不期的訪客離去時風流過草原翻起巨浪;一座房子在大雨背后熊熊燃燒;前蘇聯(lián)的巨型熱氣球徒勞地升上天空;從將死之人的手心雛鳥第一次嘗試飛翔