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邊將家的小媳婦可能因為我本身就是一個凝視這個群體的外人
我好喜歡Kubrick的橙色不管是什么genre邊將家的小媳婦這種跳躍的顏色太誘人了他怎么拍什么都那么神之一手攤開來赤裸裸給你聊戰(zhàn)爭本質(zhì)的片子放在2022看竟然很當(dāng)景很喜歡前后兩段反差:通過教官-學(xué)員單邊喊話而不是多邊inter-dialogue逐漸把character拆解成無生命物(即full metal jacket)轉(zhuǎn)化最徹底的Pyle第一個被奪去生命以此作為first part結(jié)點下部里長鏡頭pan也好crane也罷甚至插入的mockumentary鏡頭都是在為上部進(jìn)行的拆解進(jìn)行重建士兵們在這個過程中逐漸成長為復(fù)雜又荒謬的異化物最后也只能和戰(zhàn)爭一般無解哼唱著不知獻(xiàn)給誰的頌歌
前衛(wèi)大膽和自我表達(dá)的queer and drag culture從熊熊燃燒的巴黎漂洋過海到風(fēng)生水起的紐約從自我認(rèn)同的gender到sex的不平等和約束邊將家的小媳婦雖然視角展示和取材因人而異很漫不經(jīng)心卻形成穩(wěn)固的結(jié)構(gòu)和體系并能對后來者有所指導(dǎo)運動依舊在進(jìn)行著