洗脑影像：性、镜头和权力（2022）

但我们看不到男性躯体
We do not see the male body.
观看这段《超飞》浴缸戏
Watching this “Superfly” bathtub scene,
没错 那就是演员最恐惧的场景
yeah, I mean, that’s an actor’s worst fear.
他们接到剧本
That, you know, they are given a script
已答应了要演剧本中的内容
that they’ve agreed to work on,
然后导演通过镜头选择…
and the director totally objectifies her
摄影机放置位置和剪辑选择…
by the choice of shots, the placement of the camera
彻底客体化了女演员
and the editing choices.
我们刚刚回顾的所有这些手法
[Nina] All of these techniques that we’ve just reviewed
都对人物叙事地位的确立产生了影响
contribute to the narrative position of the characters.
且经常是以一种奇怪的与故事无关的方式…
And very often in ways that seemed strangely irrelevant
产生着这种影响
to the story.
多来点！
More!
没有了
No more.
在一个理想化的世界里 我们能够看到大量的…
In an ideal world, we would be able to see a huge amount,
多种多样的电影 得到相同的…
a huge variety of films getting kind of equal amount
播放机会
of play.
如果你是一位异性恋男性
You know, so if you are a heterosexual male,
而你想拍一些女人的臀部
and you want to photograph some woman’s behind,
我当然不是性方面的警♥察♥
I am certainly not the sex police.
我不是在教你做事
I am not telling you what to do.
也不是在说别这么做
I’m not saying do not do that.
我只想指出这个事实：影史上已有很多
I’m just pointing out the fact that a whole lot
广受赞誉的导演
of majorly acclaimed directors through time
拍过那些了
have done just that.
而正因为影史上96%的电影都拍过那些
And since 96% of the films through time have done just that,
那对我们这些看厌了这类内容…
there isn’t a whole lot of wiggle room
也讨厌观看这些内容导致我们自厌的人来说
for those of us who are sick of seeing these things
就没有多少…
and are sick of the result of that kind of attack
回旋余地了
on our selfhood.
对女性来说 因为你在观看这些电影
For women, because you’re looking at those films,
比方说 她想把自己塑造成…
for instance, she would like to shape herself
被凝视的那个客体
to be that object of the gaze.
但她想：我身上有一部分 虽然也属于我
But she thinks, some part of me, which is me,
但和我追求的形象并不匹配
is not matching to that, you know, image.
那我就把自己那部分丢掉
So I would just, kind of toss it out.
那种情况下 她就丢掉了她自己
So, in that case, she loses her own self,
她会感到空虚
she feels empty.
她所有的注意力或能量
All of her, you know, attention or energy
都花在那种对她形象的…
is spent for the external, you know,
外部塑造上
establishment of her image.
但当她静下来反思时 她会感到空虚
But when she sits down, she feels empty.
那就是问题所在
That’s the problem.
这里 我们可以清晰看到那位女性角色的
[Nina] So here we have very clearly the narrative position
叙事地位 以及对她“将被观看”的立场的展现
of the woman and her to-be-looked-at-ness place delineated,
同时我们可以听到
while we hear on audio,
所有男性电影人的名字
the names of all the male filmmakers,
并看到男电影摄影师在拍她
and we see the male cinematographer shooting her.
“我们的欲望” 当然了 他们说的可不包括我
[Nina] “Our desires,” of course, they’re not referring to me.
传统意义上 观众总是被假定为
Traditionally the audience has been assumed
顺性别异性恋男性
to be a cis male heterosexual
这与顺性别男异性恋导演一致
lined up with the cis male heterosexual director,
与掌控所有镜头的摄影指导一致
lined up with the director of photography, who controls all the shots,
与画面中的男性主体一致
lined up with a male subject in the frame.
而他们都在观看那个女性客体
And they are all looking at the female object.
这是标准的身份认同过程
This is the standard line of identification.
而显然 如果你不是异性恋男性
Now, obviously, if you are not a male heterosexual,
你在这种身份认同过程中所处的
you’re going to inhabit this process of identification
肯定会是不同的位置
in somewhat a different way.
而取决于你所在的位置
And depending on where you’re located,
比方说 如果你是一位异性恋女性
you know, for example, if you are a female heterosexual,
也就是我 那这个过程会如何呢？
which would be me, how does this play out?
这会如何影响我们呢？
How does this affect us?
当我在UCLA电影学院就读时
When I was a student at the UCLA Film School,
我对自己的作品非常投入
I was very completely obsessed with my work
在各个层面上都被我自己的作品包围
and I was surrounded by my films on every level
而我是个完全说做就做的行动派
and I was a complete go getter.
如果有人阻了我的路
And if somebody would get in my way
而我需要进混音室之类的地方工作
and I needed to get into the mix room or something,
我会直接：“给你20刀 让位 快让位”
I would just be like, “Here’s $20 move, go, go.
“我要做我自己的活儿”
I need to do my work. ”
我是个完全的主体
I was a complete subject.
我对此毫无疑问
I had no problem with that.
但一旦我试图进入浪漫关系
But what happened when I tried to be romantic
或和人约会
or go on a date,
我就会陷入麻烦
that’s when I got into trouble.
我会感到自己“被观看”
I experienced myself as to be looked-at-ness.
我会感到自己是个客体
I experienced myself as an object.
我不知该如何行动
I didn’t know how to act.
那对我来说非常令人困惑
It was very confusing for me.
而要消化整合这些事情对我来说非常困难
And I had a very hard time integrating those things.
就像是这样：在作为积极行动者 与男性主体
So I sort of jumped from object position
有一致身份认同时 我直接从客体地位
to subject position where I identified
跳到了主体地位
with a male subject as an active mover.
而我并不知道如何作为女性充当一位积极行动者
And I had no idea how to be a woman as an active mover
并同时保持性感
and also be sexy.
而这还只是这些事情对我们个人影响的
And this kind of is just a little tip of the iceberg
冰山一角而已
about how this stuff affects us personally.
而这里 在《蔑视》的下一场戏中
So here’s the next scene in “Contempt. ”
我知道这场戏据说是对女性客体化的
[Nina] I’m aware that this scene is supposedly a comment
一次评论
on female objectification.
据说是制片人逼戈达尔
Supposedly the producers forced Godard
展现更多碧姬·芭铎的臀部
to show more of Brigitte Bardot’s behind,
但不管导演是不是意在讽刺
but whether he had an intention to be sarcastic or not,
看到一部这样电影 被告知这是一部杰作
the impact on a gut level of seeing a film like this,
加上如今我们观看的其他
and being told that this is a masterpiece
一部接一部的所谓杰作
along with all the other films that we’ll be seeing today,
那种本能的直觉层面的影响
that it’s one masterpiece after another,
想一想它是如何深入且内化地影响作为女人的我们的
think about how that affects us deeply, internally as women.
那可真是非常强烈
It’s pretty intense.
我在这里讲的这些是对抗性的
You know, this talk is kind of confrontational
所有这些内容都是
and all this stuff,
但我要人们明白
but I want people to know,
这都建立在我的悲伤之上
you know, it’s built on my sadness.
我知道
I know.
建立在我的挣扎
It’s built on my struggle.
建立在我的悲伤之上
It’s built on my sadness.
我在这里讲的
You know, it’s not a beautiful thing
可不是什么漂亮话
that I’m talking about here.
但是尼娜 你不觉得所有女人都能感受到那种悲伤吗？
But Nina, don’t you think all women feel that sadness?
我所有叙事性虚构电影的中心主旨之一都是表达
All of my own narrative fiction films have been centrally concerned with expressing
不幸的女性
the abject feminine
以及内心深处所带的创伤
and the wound that is carried deep inside.
制♥作♥电影是一种神圣的境地
It’s really such a sacred place to make cinema.
是一种神圣的做法
It is a sacred act.
你实则是在进入人们的想象之中
You are really entering people’s imaginations
进入人们的灵魂 而你必须谨慎对待
and their psyches in such a way that
你制♥作♥电影的方式
it should be treated with care.
它是有放大作用的
It’s a place of magnification,
几乎像对着麦克风说话一般
it’s almost like speaking on a microphone.
不管你说什么都会被放大
Whatever you say it’s amplified,
所以你必须留心你的拍法 这很重要
so just being aware of that, it’s so important.
研究者（梅兰妮）格林和（蒂莫西）布洛克
The researchers Green and Brock,
曾新造了一个词：“传送”
coined a term, which is transportation,
所谓“传送”即是：电影电视对观众的影响
transportation is the effect of movies and television
仿佛是把我们从进入剧场时所处的世界
on viewers that moves us from where we are,
带离出来 并进入一个全新的世界
when we walk into a theater, into a new world.
沿着一个连续统一体 它带我们从熟悉的环境
It takes us from the familiar along a continuum,
进入一个新领域
into a new place.
然后我们会陷入一种怀疑的悬停状态
And we go into a state of suspension of disbelief,