洗脑影像：性、镜头和权力（2022）

But they spelled it interestingly, J-O-I.
在色情片文化中 J-O-I代表着手♥淫♥指示
In porn culture, J-O-I stands for jerk off instructions.
你可以想象一下女性去看这部电影时的感受
So just think how women feel when they go see this film,
然后她们听到这部电影会得或得了一大堆
then they hear about all the Academy award nominations
奥斯卡提名
that it’s getting or got.
这就是好莱坞的可怕循环
It’s this horrible cycle that Hollywood has,
因为它吸收了大众具有的有害内容
because it takes in what the population has that’s toxic
然后直接反哺给大众
and then it feeds it right back,
这助长并带回了有害内容
which then energizes it and brings it right back.
所以有着这么一种暴♥力♥循环
So there is this circle of violence.
这全都互相关联 全都互相关联
This is all connected, it’s all connected.
女权主义的一大关键原则是 女性躯体…
One key principle of feminism was that the female body
包含了大量抗争
was a sight of struggle.
但这一原则转变为意识到 女性躯体的…
But, it shifted to realizing that the image
图像也包含着大量抗争
of the female body was also a sight of struggle.
这种图像并不涉及女人
The image does not refer to women.
这种图像是被男性观念体系挪用…
This image is being appropriated and produced
并制♥造♥出来的
by male consciousness.
所有这些手法
[Nina] All of these techniques,
都肯定是经过深思熟虑的
they’re definitely deliberate.
我们不知道它们是有意识还是无意识的
We don’t know if they’re conscious or unconscious,
但都是经过深思熟虑的
but they’re deliberate.
都是经过深思熟虑的决定
Deliberate decisions.
某人决定如何拍摄某人
Someone made a decision how to shoot that person.
值得花时间想一想的是：
It’s worth taking a moment to consider
我们一直在讨论的这种…
that the objectifying camera techniques
客体化摄影手法 有时也会在其他…
we’ve been discussing can also sometimes be seen
显著的语境类型中出现
in other types of very telling contexts.
比方说 在《沉默的羔羊》中
For example, in “Silence of the Lambs”
当水牛比尔这一角色作为杀人犯 戴着目镜
the character Buffalo Bill is in the masculine zone
而朱迪·福斯特是他凝视中的客体时
with the goggles as the murderer
他是处在男性空间中的
with Jodie Foster as the object of his gaze.
但当他女性化自身时
But, when he is feminizing himself,
当他处在所谓的女性地位时
when he’s in the so called feminine position,
他被拍摄的方式和女人一样
he is shot just like a woman.
当你观看水牛比尔这一幕
Watching the scene with Buffalo Bill
看到这种种扭曲的自我形象代表
when you have this almost deformation of self
助长了这种摄影机后的白男凝视
to uphold this white male gaze behind the camera,
那就是在那个角色空间中显示出来的…
it was the internalized sexism and internalized misogyny
内化性别歧视和内化厌女
that was showing up in that space for that character.
这不仅针对顺性别女性
It’s not only for cis women,
也针对变性人和其他…
but also trans folks and other folks
不符合传统性别区分的人
who don’t fit the boundaries.
重看这场戏时 我记起…
As I was re-watching the scene and just remembering
这样一场戏能造成多么多创伤
how much trauma has been caused by a scene like that.
现在我要展示一段影片
So I’m gonna show you a film now
它不是一线制♥作♥
that is not an A list movie.
甚至是最低级的制♥作♥之一
In fact, it’s probably an F.
它被罗杰·伊伯特称为种族歧视的垃圾作品
It’s been called racist trash by Roger Ebert.
而我同意他的评价
And I would agree with that.
但我今天要看其中的一段戏
But I’d like to take a look at the scene today,
因为它与我们的分♥析♥十分相关
as it’s quite relevant for our analysis.
我们看到一位白人种植园主叫一位黑人奴隶…
We have a White plantation owner who calls a Black slave
到她的房♥间里来
to come to her room.
她告诉他 如果他不和她性♥交♥
She informs him that if he doesn’t have sex with her,
她就会举报他 说他是强♥奸♥犯
that she will report him as a rapist,
这会为他带来死刑
which would be a death sentence for him.
所以基本上她是在强♥奸♥他
So basically she’s raping him.
摄影机从被分割的躯体部位向上移♥动♥
The camera pans up from a fragmented body part.
注意此刻谁穿着衣服而谁在除衫
Notice who’s wearing the clothes and who is being undressed.
这个女人在很多层面上掌控着这个场景
The woman is in control of the scene on many levels.
啊 啊！
Ah, ah!
最后我们看到一个长而性感的对躯体的平移镜头
And finally we get a long sexy body pan.
虽然这段戏看着很尬 但我把它包括进来的…
The reason I’ve included this clip as cringe worthy
理由是
as it is,
我觉得它作为例外佐证了我们所说的规则
is I feel it’s the exception that proves the rule.
当我们谈论这类场景时
And when we’re talking about these scenes,
它们实际上与性无关
they’re not really about sex.
而是与权力有关 被如此拍摄的人…
They’re about power and the person who is shot like this
显然不具备权力
is not empowered.
《曼丁哥》的例子体现了…
So the example of “Mandingo” shows that
镜头设计系统性地使这些…
shot design systematically perpetuates
存在于我们社会中的权力关系长存
these power dynamics that exist within our society.
所以在那部电影中 你会看到同样的手法 比如平移扫拍…
So in that film you see the same like sweeping pans
他的躯体 他被分割成的部分
of his body, the fragments of him.
我们在此探讨的事情的真正本质
The true essence of like what we’re talking about here
与权力有关
has to do with power.
也与躯体的商品化和躯体如何从权力层面…
And commodification of bodies and how bodies relate
彼此相关联有关
to each other in terms of power.
当你有了——用福柯的话说——网
When you have, as Foucault says, webs,
意识形态之网
webs of ideology.
而它们都彼此连锁…
And they are all interlocking
且都在强化某种特定的观看方式…
and they’re all reinforcing a certain way of looking
以及将你排除在外的特定体验方式
and a certain way of experience that you’re locked out of,
要说出以下这些就需要很强大的力量了：
it takes a lot of strength to say,
“我不是这么看事物的”
“I don’t see things this way
“而且我要创造出一些不同的东西”
and I’m going to create something that is different. ”
阿米普尔影片中的性犯罪者
The sexual predators in Amirpour’s film
遇上了一位很意外的复仇者
meet a very unexpected avenger.
有种说法是 人们说：如果要…
There’s a saying that people say that if people
去除掉所有的性犯罪者
were to get rid of all the sexual predators
那就不存在电影行业了
that there would be no film industry.
而他们就得从零起步了
And they would have to start from the ground up
然后他们对此大笑
and they laugh about it.
他们就一副：“哈哈 你瞧 我们就得…”
They’re like, “Haha you know, we would have
“一切从头再来了” 而我想的是：
to start from scratch. ” And I’m like,
那就该死的从头再来好了
then let’s fucking start from scratch.
你得建造你自己的房♥子
You have to build your own house
你需要自己的工具来建造自己的房♥子
and you need your own tools to build your house,
而你的工具就是你的创造力 你的作品
and your tools are your creativity, your work,
你的工作伦理和你制♥作♥出超越他人…
your work ethic and your ability to produce above and beyond
不断强势输出的内容的能力
what someone else is clamoring for, let’s say.
女性导演常将她们的人物描绘成…
[Nina] Women directors often depict their characters
具有自身强烈欲望的完全主体
as full on subjects with their own intense desires.
大自然 大自然 我是你的新娘
Nature, Nature, I am your bride.
带走我吧
Take me.
邓耶的《寻找西瓜女》将特写拍摄得近到…
Dunye’s “Watermelon Woman” makes the close ups so close
能让你得到片中人物体验的切身感受
that you feel the sensation of the experience
同时你又无法以传统方式加以凝视
and you’re blocked from gazing in the traditional way.
毫无疑问 在电影的整个历史中
Without question, throughout the history of cinema,
性场面总是以男性凝视挪用和客体化…
sex scenes have been shot with the male gaze appropriating
女性躯体的方式拍摄的
and objectifying women’s bodies.
如果我们是在这样做
If that’s what we do
那么必然存在一部分缺失的想象…
then there’s a lack of imagination
需要我们自行弥补
that we’ll have to make up for ourselves.
这场戏中 格斯·范·桑特拍摄男女躯体的方式…
[Nina] In this scene, Gus Van Sant shoots male and female bodies
非常平等
very equally.
范·桑特或许受到了阿涅斯·瓦尔达电影
Van Sant may have been influenced by Agnes Varda’s film,
《幸福》的影响
“Happiness. ”
在我自己的电影《幻爱》中
In my own film, “Phantom Love”
性场面努力聚焦于女性心灵的…
the sex scene tries to focus on the woman’s psychic
内在体验
internal experience.
塔可夫斯基爱好者会留意到我在这里的致敬
For Tarkovsky lovers, you’ll notice my homage.
我想到这首格温多林·布鲁克斯的诗：
I think of this poem by Gwendolyn Brooks that,
“我仍保有我的外貌 我的身份”
it’s “Still do I keep my look, my identity. ”
她也谈到每具躯体都有其艺术性
And she talks about how each body has its art
以及它们… 不管它们是在一种不幸的状态中
and how they’re like, whether they’re in a state of abject
还是在一种昂扬的状态中
whatever, or they’re in an exalted state,
它们在自身中 仍保持着这种固有的…
they still maintain this intrinsic human quality
人类品质
within them.
在《女巫恋人》中 尼茨卡·基恩聚焦于…