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1 ) 《变态者意识形态指南》
相较《第237号房间》同样都有过度解读，不过那部关于《闪灵》的挖掘片你能感觉到是强大影迷的自我娱乐享受，那种氛围对于热爱电影的观众来说必然很有吸引力，而创作者的这第二部“变态系列”却给人电影被利用的感觉。可能也是这部影片（包括前部）褒贬不一的深层原因吧。
可是，抱着一个开放、求知的思想，影片还是很有内容和值得享用的部分，作为缺乏真正哲学教育的国度，里面提供了很多通过熟悉影像透析哲思的途径，而那些经典以及生僻电影的解读证明斯拉沃热·齐泽克 Slavoj Zizek还是一个电影热衷者的。
2 ) Notes：The Pervert's Guide to Ideology
Critical ideology glasses in They Live (1988) → We live in the world of ideology, we think we escape it into our dreams, at that time, we are in our ideology.
Fighting scene in They Live (1988) (a man doesn't want to put on the glasses) < Paradox: Truth is painful. Living in a lie doesn't need to experience suffering.
→ To step out of ideology hurts. It is a painful experience, you might force yourself to do it. 用以解释群众运动：Freedom hurts.
The Sound of Music（1965）→ Pretend to renounce and you can get it all. #The basic insights of psychoanalysis is to distinguish between enjoyment and pleasures.
Coke: A commodity is never just a simple object we buy and consume. < That's it. "Something more" 马克思 “过剩”
Different Dances （2000）In postmodern society，we are obliged to enjoy. Enjoyment becomes a weird duty. < Paradox of coke: You are thirsty, you drink coke. The more you drink, the more thirsty you get.
→ Desire for desire itself. The desire to continue to desire.
Kinder Surprise Egg < The surplus enables the enjoyment of the surface, which makes it a perfect commodity.
Ode To Joy by Beethoven. < An empty container open to all possible meanings
Alex in Clockwork Orange (1971) < He is in the place of exclusion. Beethoven is practicing the critique of ideology.
London Riot (2011.8): people take things without paying. < Pure consumerism leads to Violence
Taxi Driver (1976) < it brings brutal outbreak of violence to suicide damage.
注释：
1. "Nada": Nothing in Spanish.
2. "Agalma": 按照柏拉图所说，这种叫“Agalma”的东西能让人成为更有价值的人。
部分…To be continued…
3 ) A General Lesson about Ideology
In this documentary film, slavoj žižek explored theideologies that shape what we believe and how we behave. He transplanted into the scenes of various movies, uncovering how those movies reinforce prevailing ideologies.However, he mixed up many concepts after a point, some are even irrelevant. I try to organize some ideas. Many expressions following are from film subtitle, mixed with my interpretations.
1. Ideology and the failure of ideology.
First of all, Žižek assumed there is ‘reality’ beneath the ideology, and the world is always full of ideologies which interpret the ‘reality’ systematically. There are free floating elements, like suffering, poverty, enjoyment etc, they are open themselves to different ideological fields. Ideology, for example, catholic propaganda, Fascism, Nazism, Communism, Cynical ideology, feminism, consumerism… is a kind of a filter, a frame, so that if you look at the same ordinary reality through that frame, everything changes. Decades ago, people in the UK attributed all social problems to unemployed single mother.
However, ideology is not only like glasses which distort our view, it’s also our spontaneous relationship to the social world, how we perceive each meaning. According to Žižek, to some extent we enjoy our ideology, and the truth is painful. So to step out of ideology, it hurts. He called ‘the extreme violence of liberation’: you must be forced to be free. Here it seems the ‘truth’ he meant is those free floating elements without value system. I agree that people always need guidance/principle (whatever they are), people don’t know what to do with too much freedom. For example, the principle of one middle-class friend is doing things with least money, fully taking advantage of capitalism. His explanation is saving money for children, which actually doesn’t really matter. Because he will keep doing so even without children, the truth is that he needs a guidance of life and relationship with society. He definitely would feel lost without this principle.
Fantasies are the central stuff our ideologies are made of. fantasy covers up a certain gap in consistency. When things are blurred, when we cannot really get to know things, fantasy provides an easy answer. In Žižek’s opinion, ideologies always only work for some people. Thus it’s deduced that no ideology is consistent. To put it another way, some always suffer and are exploited. He illustrated the failure of ideology by invoking the music of Ode to Joy which universally touches everybody, the majority may only know the first idyllic part, the brotherhood, freedom… But the second part sounds ridiculous and bizarre, no longer the sublime beauty. It states the failure of ideology: some are excluded.
What will happen? Violence, the reaction of people who are totally caught into the predominant ideology but have no ways to realise what this ideology demands of them. It’s a kind of brutal intervention to cover up a certain impotence. But he further illustrated that sometimes victim doesn’t want to be redeemed, they resist the rescue. He gave the example of American military interventions, especially so-called humanitarian interventions. People try to help victims, but what if they really did not want our help? It’s interesting but another complex topic - moral relativism, or say the collisions of different ideologies.
What I don’t understand is, Žižek said :”It’s not that the frame actually acts anything; it’s just that the frame opens the abyss of suspicion” What’s the abyss of suspicion?
2. Dominant ideology nowadays - consumerism.
The history of capitalism means disintegration of old stable relations. Instability is the way capitalism functions. Antagonism, class struggle and other conflicts is something inherent to capitalism. And there is a strange, absolute demand, capital has to circulate to reproduce itself to expand and for this goal anything can be sacrificed, the so called permanent self-revolution. This weird machine monster will keep accelerating. The ultimate form of consumerism is being a consumerist without any bad conscience because you pay the price for the counter measure. You consume with an illusion of helping poor people in Africa by donating, while it may actually exacerbate the disparity in wealth.
He also mentioned a prevailing ideology in post-ideology society: enjoyment becomes a kind of weird perverted duty, everyone shall realize their potential, ‘improve’ yourself, and lead a satisfying life. But a desire is never simple the desire for a certain thing. It’s always also a desire to continue to desire. Perhaps the ultimate quarrel of a desire is to be fully filled in, met, so that I desire no longer. The ultimate melancholy experience is the experience of the loss of desire itself. The excess is with us forever. I like these insights on desires, but I don’t know what does it to do with ideology. Perhaps it indicates the post-ideology doesn’t work for some people. Patients come to the analystfor not being able to enjoy. In this sense, satisfying life is a fantasy.
3. Insights on enjoyment and pleasures
He distinguished between enjoyment and simple pleasures. They are not the same. Enjoyment is precisely enjoyment in disturbed pleasure, even enjoyment in pain. This is where the power of attraction of Catholic church resides: obscene permission to hedonist, pretend to renounce and you can get it all. This obscene contract does not belong to Christianity, it belongs to Catholic Church as an institution. It is the logic of institution at it’s purest.
4. The way to fight ideology.
The way to fight ideology is to play with it. For example, to fight Nazism is to enjoy these elements, ridiculous as they may appear, by suspending the Nazi horizon of meaning. This way you undermine ideology from within.
Despite it’s not complete, this film provides a quick fun glance at ideology. It's necessary have a closer look at individual ideology and how each works. When the ‘ideology’ is self-consistent, it would be the TRUTH. Plus, I like slavoj žižek, he is fun!
4 ) 变态者意识形态指南观影笔记
服从，结婚生育，钱是你的神，不思考
解放思想需要极端暴力，自由都是强加人身上的
只要做出禁欲的姿态，你就能随心所欲了
享受成了一种怪异的畸形的责任
欢乐颂第二段轻佻的不能压制驯化
2011年8月英国骚乱
她不想被拯救抗拒救赎
anders behring breivik
鲨鱼象征了压榨美国人民万恶资本主义
最极端的意识形态就是纳粹
都怪失业单身母亲，凯斯滕伯格
原住人民的团结是纳粹的中心思想
战车现场，星巴克咖啡
废弃飞机船和城市现实的惯性
像吸血鬼吸取下层能量
布拉格之春，消失的调停者
给她朗诵诗歌什么的
1.温和的戏谑性的保持距离
2.对军事纪律的下流的增补
abu ghraib scandal
小丑：社会稳定运转以谎言为基础
法律系统内部是怎样腐败的一切都会崩溃
我们民主选举出来的，但我们想干嘛就干嘛
若无上帝则万事皆允，911
将神的旨意作为一种工具
斯大林其实也打扮神的旨意
大他者：历史向社会主义前进必然性
我只是在代表大他这行事罢了
瓦解将领袖合理化的神话般的标准
根本没有人听她们倾诉
官僚表演但什么也没做
将歇斯底里质疑转到作为主题上帝
耶稣是个受虐狂，che voglio
死在十字架上的是大他者的承诺
无神论者深入到基督教本身
梦是理想化的消费主义映射
5 ) 观影笔记
《They Live极度空间》1988
意识形态操纵pleasure和duty，从而影响人的精神服务于意识形态
《The sound of music音乐之声》1965
——首先精神分析psychoanalysis区分enjoyment 和pleasures ：enjoyment: enjoyment in disturbed pleasure。这个区分扭曲了relationship between duty and pleasures。这里即为（宗教）意识形态的施展空间。
Q：enjoyment是意识形态的产物？
——意识形态工作机制：表面上教导人们要富有责任心和道德感duty*no pleasure，暗地里却说签订契约就可以为所欲为pleasure，由此，pleasure和duty建立对立关系，pleasure不再属于个体，而属于“庇护个体”的divine Big Other
电影中的天主教意识形态：玛丽亚进入修道院（接受duty），遇到男爵（pleasure和duty发生冲突），修道院鼓励和肯定她去enjoy。推测玛丽亚在enjoy中又因为duty感到自责，又感激修道院的庇护。天主教的吸引力即在于，个体可以在作为机构的教堂（church as an institution)和个人的行为困境(behavior troubles)之间建立契约(contract),个体的欲望得到了divine Big Other大对体/大他者的庇护。这个契约并不符合基督教教义，而是属于“机构”，是一个纯粹的“制度逻辑logic of institution”。机智的基督教宣传册不会是“禁欲”的，而是一个教徒和教堂机构之间的契约——当教徒的pleasure和duty发生冲突时，教堂便会成为教徒昧着duty享受pleasure行为（enjoyment？）的庇护者（如果不接受基督教教义，人们就没有duty和pleasure的困惑，随心所欲。
类比现代生活某意识形态：duty作为意识形态的第一层，pleasure与其“教徒” “天然对立”，但是现代人会遇到非常多duty和pleasure之间的冲突，现代人会在负罪之下enjoy——但是本来，pleasure并不会有负罪感，负罪感是意识形态赋予的。
类比现代生活某意识形态：“be yourself”（pleasure）作为现代社会意识形态第一层时，现代人生活中又会有面临各种duty与pleasure发生冲突，duty成为了隐藏的第二层？
突发臆想（这个想法不对）：从基督教意识形态到现代社会意识形态的duty和pleasure的位置的完全颠倒是因为，基督教姑且需要吸引人们“入教”，而在现代社会中，所有现代人都不得不自动成为“现代社会”的教徒？
Q：齐泽克举出心理医生朋友给他讲的People feel guilty for not enjoying enough, for not being able to enjoy这个故事，是为了说明当下，意识形态的表层改变为了“pleasure”吗？
Q：那个和谐三分钟歌的人atheist communist的时候，齐泽克为什么要特别指出“作为一个可能的无神论共产党员”，“他清楚天主教的魅力在哪”？
——当下“义务性享乐”意识形态即来源于此
《Different Dance可口可乐广告》2000
——商品从来都不只是我们消费的物品a commodity is never just a simple object that we buy and consume. 商品反映了某种“超然”的需求。theoretical even metaphysical niceties, its presence reflects an invisible transcendence
——可乐是一个完美的商品, 可乐广告堂而皇之地透露出了商品的这种隐藏的“超然”属性。the classical publicity for Coke quite openly refers to this absent invisible quality: Coke is the Real Thing or Coke That's It
——“义务性”享乐的社会：in our postmodernism (societies)（这里齐泽克为啥说however we call them societies?) we are obliged to enjoy (duty)
*可乐的悖论：喝得越多越渴就喝更多
——欲望从来都不是单纯对“某物”的渴望，还有对“欲望”本身、对于能够“持续欲望”的渴望。抑郁即丧失了欲望。never simply the desire for a certain thing, always also a desire for desire itself-a desire to continue to desire-maybe the ultimate horror of desire is to be fully filled in met
——“冰可乐才是真正的可乐”-商品的附加值elusive surplus（商品的基本辩证法elementary dialectics of commodities（？）
*Kinder Suprise Egg健达奇趣蛋：“附加欲望”被实体化；齐泽克并不认为巧克力外壳的存在是为了让人更好地探索内部附加的玩具。i don't think that the chocolate frame is just to send you on a deeper voyage towards the inner treasure (the what Plato calls "Agalma" which makes you a worthy person) (which makes the commodity a desirable commodity.) I think it is the other way around.
而是内部的玩具的存在是为了让人更好地享受巧克力外壳。We should aim at the higher goal, the goal in the middle of an object precisely to be able to enjoy the surface, This is what the anti-metaphysical lesson which is difficult to accept.
《Ode to Joy欢乐颂》
——这段乐曲使用场景极广，适用于几乎所有ideology。因此也不能保证其中立this neutrality if a frame is never as neutral as it appears
——Alex（《Clockwork Orange发条橙》1971）被欢乐颂深深感动。whenever an idealogical text says all humanity unite in brotherhood joy and so on, you should always ask, are this "all" really "all"? or is someone excluded(Alex)——而贝多芬的交响乐中包含了这些“被排除在外”的人
“犬儒主义”意识形态
《west side story西区故事》1961
——if the classical ideology functioned in the way designated by Marx in his nice formula from Capital Volume One, "they don't know why they are doing, but they are none the less doing it"——cynical ideology犬儒主义的意识形态 functions in the mode of this
——受犬儒主义意识形态统治的人从来都不是表面上犬儒的小混混，他们会有他们的“小小私密的梦想”
——English riots of August 2011，对这次骚乱的standard liberal解释说这些暴乱的人生活环境很差等等，但是不够说服。因为人并非只受到客观环境的影响，每个人都有一个“缓冲区”，使人有机会发挥主观能动性改变客观环境。because man is not simply a product of objective circumstances, we all have this margin of "freedom" in deciding how we subjectivize these objective circumstances which, of course, determine us how we react to them by constructing our own universe
暴力是一种为了隐藏自身的无力感而进行的“强制现实介入”
《taxi driver出租车司机》1976
《the searchers搜索者》1956
——两部电影都是”英雄“要“营救” “受害者”，但是常常引发暴力的原因在于”英雄“潜意识认识到”受害者“本身是享受”受害者身份的“（不想被救）the task is always to "save" the perceived "victim"; but what really drives this violence of the hero is a deep suspicion that the victim is actually, in a perverted way, enjoys or participates in what appears as her victimhood（*美国的“人道主义”军事干预）结果只能是“暴力的爆发”
——暴力不仅仅是抽象意义上的“暴力”，它还是一种为了隐藏自身的无力感而进行的“强制现实介入” violence is never just abstract "violence", it is a kind of brutal intervention in the real to cover up certain impotence concerning what we may call "cognitive mapping": You lack a clear picture of what is going on, where are we.
——“可怕的暴力爆发”是同理的。it is palpably clear that how this violence that Breivik not on(屠杀施加者) ly theorized about but also enacted is a reaction to the impenetrability and confusion of global capital.
——应该把暴力施加到内心中把你束缚在主流意识形态的东西上。you should have the outburst of violence and you should direct it at yourself, but in a very specific way at what in yourself change you ties you to the ruling ideology.
反犹太主义意识形态的工作原理，意识形态对无意义元素的“收买和控制”
《jaws大白鲨》1975
《triumph of the will意志的胜利》1935
《the eternal jew》1940
——“大白鲨的攻击”意味着什么？"大白鲨”代表了什么？代表了人们心中所有恐惧的集合
——Nazi fascist anti-semitism反犹太主义意识形态的工作原理即是如此。
法西斯主义最初通过经济变革elementary conservative revolution to develop modern industry发展生产力；一场变革会伴随着维护或者重建传统的等级制社会reassert traditional hierarchal society, a society which is modern and efficient, but at the same time controlled by hierarchal values with no class or other antagonisms. 但是资本主义的运作方式就是和传统等级社会矛盾的“不稳定” antagonism, class struggle and other dangers are something inherent to capitalism, modernization, and industrialization means disintegration of old stable relations, it means social conflicts. Instability is the way capitalism functions.
法西斯的解决方式就是发明一种“外来入侵者Jews”意识形态叙事解释社会的困境（实际的社会发展的内部矛盾） generate an ideological narrative which explains how things went wrong
* 英国John Major的意识形态运动ideological campaign，社会的所有问题都集中在事业单身母亲身上
*不要把和法西斯主义相关的一切都看作是法西斯主义的一部分；中间很多概念都来自于工人运动，比如大型群众游行概念、严格的纪律和守纪观念、人民的团结the solidarity of the people
——关键是找到意识形态的归属。
举例《tomorrow belongs to me》（《cabaret歌厅》1972)改几个字就是激进左翼共产主义radically leftist community歌曲
举例《volkerball》rammstain,2006《Reise Reise》elements of the Nazi ideology-pure elements of libidinal investment，其表演中的纳粹军国主义的手势其实没有什么意识形态的含义。只是把这些元素从意识形态中释放出来享受元素本身；by suspending the Nazi horizon of meaning to undermine Nazism from within
——意识形态是如何把意识形态本身和 “本来不归属于任何东西的要素” 联系起来的呢？
these elements can also be seen as a kind of a bribe, the way ideology pays us to seduce us into its edifice, these bribes can be purely libidinal bribes all those tics which are condensed enjoyment, or they can be explicit discursive elements like notions of solidarity of collective discipline, struggle for one's destiny, etc
消费主义的高光时刻
——星巴克咖啡：be a consumerist without any guilty（pay more to “duty”）
——资本主义
——也许没有失败和停滞就没有灵感
《Titanic泰坦尼克号》1997
——好莱坞电影生产“情侣”手段的高峰the supreme case of ideology in recent Hollywood:
1) what people ironically refer to as James Cameron's "Hollywood Marxism", the ridiculous fake sympathy with lower classes, while the upper classes are mostly all evil, egotistic, cowardly
2) what role does the iceberg hitting the ship play in the development of the love story?
3) 两人的爱情将是一场灾难，Jack 的作用就是帮助 Rose to reconstitute her ego（自我价值）- a new version of one of the old ? imperialist myths
4) 冰山是在二人决定在一起后才撞上的，事故拯救了the illusion of eternal love
* “灾难”拯救“思想”《oratorio for Prague》1968苏联的入侵拯救了“布拉格之春”的梦想
5) ```she shouted, "I will never let you go" while at the same time pushed him off，"vanishing mediator" ——电影里说的明明是i will never let go，齐泽克搞错了吧
——同逻辑《the fall of Berlinv柏林的陷落》1949，战争的目的是拆开这对情侣，胜利的目的是为了让这对情侣复合。每次在一起都要归功于斯大林。
“集体机器”和“个体”之间的粘合剂
《full Metal jecket全金属外壳》1987
——人不会甘心无脑地成为（军队）机器的一部分。还有更多：military discipline mindless following orders
1）通过调侃保持距离 ironic distance：《M.A.S.H陆军野战医院》（1970）sexual escapades+jokes
2）增加淫秽的内容以维持机器的运转 obscene supplement to pure military discipline：《full Metal jecket全金属外壳》淫荡的的行进歌曲（并非取笑，而是其组成部分）；bribe them with a bit enjoyment-obscenities sustain the military machinery
如果对这些内容过于认同失去了举例，那就完了
——所有“机器”（国家-学校）都适用，想获得群体的认同总有那么一些隐藏的规则。《if如果》 1968
《the dark knight黑暗骑士》2008
a noble fable
《Brief Encounter相见恨晚》（1945）
——big other是什么
1) the secret orders of things (control our destiny)
2) the order of appearances: 禁令仅限于不能在big other之下发生。
——big other 的形象：
——需要一个倾诉的agency
《seconds脱胎换骨》1966
我们所谓的“梦想”究竟真的是我们想要的，还是仅仅是“社会让我们觉得我们想要的”
《zabriskie point扎布里斯基角》1970
我们需要对“梦想”负责 we are responsible for our dreams-----our dreams stage our desires, and our desires are not objective facts, we created them, we sustained them, we are responsible for them.
《the loves of a blonde金发女郎的爱情》1965
《brazil妙想天开》1985
《the last temptation of christ基督最后的诱惑》
6 ) 欧洲是一场伟大的进军（误）
The Pervert's Guide to Ideology
1. Enjoyment vs. Pleasure
Enjoyment is precisely enjoyment in disturbed pleasure, even enjoyment in pain.
2. The obscene contract that belongs to Catholic church as an institution (not such to Christianity): enjoyment “allowed” by the Big Other.
Commodity and obliged enjoyment in the post-modern society.
3. The true fear of desire is that “I no longer desire” (to be fulfilled). The ultimate melancholic experience is the experience of loss of desire itself.
Dialectics of Commodity.
4. Fantasies are the central stuff our ideologies are made of. In a scene of fantasy that we construct, I don’t get what i desire but I become desired by others.
5. It is palpably clear that how this violence that Breivik not only theorized about but also enacted is a reaction to the impenetrability and confusion of global capital.
这种暴力反映了一种对全球资本的不可渗透性和混乱的反应。
视频评论：“和意识形态决裂是一个痛苦的过程，需要对自我的深入审视和评判，是对自我的一种精神的暴力。”
6. Nazism introduced a imagined common enemy (Jews).
In reality, multiplicity of fears confuse you, and you replace this multiplicity of fears with one clear pseudo-figure — Jaws, Jews, Single mothers that need constant and large governmental financial support (as in John Major’s ideological campaign, embodied in his conservative narrative)
7. Liberate the elements associated with Nazism (to enjoy them) in order to undermine Nazism from within.
8. The ultimate form of consumerism: to counteract the guilt of the consumers by “telling them we contribute our earnings to environment, poverty, social issues, etc.”
9. Instability and crisis is what pushes capitalism forward (permanent extended self-production). Waste.
10. A comparison between:
- 1968, the communist dream of Czechoslovakia (Prague’s Spring) vs. Soviet Union.
- Romance between Rose and Jack vs. The Iceberg that destroyed Titanic
The latter saved the former, not destroyed it.
11. The truth behind Titanic and similar stories: “Rich people tried to revitalize themselves by ruthlessly appropriating the vitality of the poor people”
12. The politician tells the public “the noble fable” (Plato) even though he knows the truth.
13. Part13，联想到，疫情期间，战时话语下的威权的无限制的扩大。“the divine will in an atheist government”.
14. Bureaucracy and Enjoyment. It is the performance of its very purposelessness that generates an intense enjoyment ready to reproduce itself forever.
15. To realize freedom, is not changing your reality to fit to your dreams, but to change the way you dream.
16. 历史必然性是一个悖论 (or谬论)，未来是由人类的意志决定的。
17. The true revolution should redeem the failed past revolutions. Ghosts that are roaming around from the previous revolutions will finally find freedom.
结语：所有的坚冰都无法摧毁真正的思想
入教保平安（x
倒置因果来理解事件，牛逼了。齐泽克其实已经讲得比较白了，只是由于视线不断在字幕与影像之间切换导致思维经常中断，看得很累（毕竟你没法像看故事片字幕那样一目十行）。影片中最震撼我的一句话是：向自由迈出的第一步，不是单纯的改造现实去配合你的梦想，而是改变你梦想的方式，这是痛苦的，因为所有的满足感都来自于我们的梦。
也许是字幕好，感觉思路比上一部清晰很多。
昨天刚看完TK的manifesto啊我简直...百味陈杂。【Zizek话没说到底。讲了What讲了Why避重就轻不谈How。有时候看他话到嘴边radical leftist都出来了还是把重点咽回去...也有点心酸的。【最精彩的分析其实还是耶稣那个。驳斥无神论容易，把新约挖掘出新内涵倒是真的厉害。简直难以自持。嘤。【彩蛋萌一脸
“电影是终极的变态艺术”，果然如此，拉康衣钵传人齐泽克用学术理论结构剖析各大名片场景，希区柯克大卫林奇卓别林塔可夫斯基引用最多；谈论了那么多梦境、欲望、永生和死亡，涉及那么多弗洛伊德，难道不该引入布努埃尔伯格曼费里尼波兰斯基吗？
4.29 为梦想负责，为过去负责，为所有心头的惦念负责。进入矛盾，驾驭荒谬。解决方案是，首先 “改变你梦想的 **方式**”，摧毁符号，瓦解意识形态，调换视角，以 Pervert 的、个人的、孤单的、痛苦的、超越的、无需许诺的方式。精神病似的归属感。个人技术。
谁取的中文名？？多会误导大众…意识形态的变态指南更好理解。不知道的人会以为着重点在变态但其实别人在'ideology'。个人认为Ideology这一部比Cinema内容更有趣。以电影为例子，从政治和哲学的层面去解剖一些社会学的东西，真是有趣极了！
ideology idiotology 傻傻分不清~ 老爺子說話的樣子太可愛
很有趣，但很多问题点到为止，有一种没吃饱的感觉。
这个太酷了。
大受教。不打五星，对不起齐老师的小猥琐和小可爱。
比上一部还好看！齐泽克讲话真是通俗易懂，虽然术语一套一套，但逻辑很清楚，并且讲什么话题都是这样，太厉害了。口音再难懂也不是问题啊（可是他怎么老这样，我怀疑口音有故意成分！）。就是以后再也没法直视泰坦尼克号和音乐之声了。。。
齐泽克献身出演经典名片，挖掘隐藏在影像背后的精神政治面貌，比《变态者观影指南》更有逻辑调理，将电影延伸至精神学社会学哲学，齐泽克的阐释超出了一般电影的解读方向。相对于从电影本体论出发的解读，从“他者”的介入的也不妨为一种有趣的尝试，更何况，电影早已不在纯粹。
闪耀国际学术界的话唠明星逼斯拉沃热·齐泽克再度上阵，通过对电影与后现代社会意识形态以及消费社会的整体解构进行潜意识反向式的洗脑，影片涉及意识控制，人类奴性本源，趋众态势，反陨落，原教旨，阴谋论等庞杂繁复的深度话题。信息量巨大，叨逼叨，用口水淹没口水，多好的教科书。
享受了半天大渣子味儿英语，说得意思还比较清楚，尽管内容并不新鲜，无非是“大他者“并不存在，每个人都需要警惕。
怎么听都是老调
1、齐泽克的讲演实际是在不断与弗洛伊德、马克思、拉康他们对话——意识形态≠虚假意识（与马克思的不同）；性也是意识形态的建构内容（与弗洛伊德的不同）。弗洛伊德将一切归结于“性”，而齐泽克归于“性意识”，包含后结构主义的思想，认为甚至是“性”也是意识形态的建构内容，是对弗洛伊德的一种超越。2、希区柯克，悬崖坠落主题；巨物（Object）3、《大开眼界》里妮可基德曼讲一次关于海军的性幻想，这个情节在村上一部小说里也出现过，具体想不起来4、所有现代电影最后都是关于拍摄一部电影的可能性和不可能性。在现实中，如果你们寻找比现实更现实的东西，就看电影故事片。
很好看，需要字幕，否则齐泽克的口音我真跟不上。
戏仿《铁达尼号》简直笑死。以《极度空间》的“意识形态批评眼镜”开篇，经由《音乐之声》《西区故事》《搜索者》《出租车司机》等，最终以本雅明作结（感受到了齐老师对本雅明的热爱），齐泽克真正要做的与其说是“意识形态批评”教导不如说是左翼一个世纪以来都无法修通的忧郁——“如果被拯救者并不需要拯救，那怎么办？”（其原型问题是资本主义出现危机之际无产阶级为何选择的是法西斯主义而非马克思主义）。对我来说，尾声处所谓“我们要对我们的梦想负责，必须区分两种梦想（激进革命理想与消费主义欲望）”依然是无力的，在这样的年代，真正有号召力的也许正是“我非常清楚自己在做什么，但我仍然在做”的犬儒姿态。
“变态者”首先体现为观看方式的非常态。正面直视或闭目无视恰恰都落入了意识形态的圈套，因为二者都在无意间肯定了意识形态的意向性地位（尽管其角度存在着正与反的不同）；唯有凭借“斜目侧视”，所谓的“自然之处”才会显露出蹊跷，合法性与悖论性并肩而行的轨迹才得以被揭开。至于齐泽克在本片中带来的一大关键启示，则是：尽管意识形态通常被界定为遮罩、屏障、阻碍、幻象等一系列负面对象，但问题恰恰在于我们正是意识到了意识形态才顺从于它（而不是相反：我们没有意识到意识形态才顺从于它），如果人们意愿于意识形态的包裹，那么似乎任何迫使前者“离开洞穴”的行动也都缺乏合法性了。可否逼迫一个“意识形态躺平者”站起来——这即是齐泽克指出的当代（激进）左翼行动的巨大困境。换言之，不是无力想象另一个世界，而是不愿想象另一个世界。