教官前面25分鐘的口吐芬芳太有意思了硬是沒(méi)有一句重復(fù)的堪稱(chēng)后庭花上的蜂蜜影片還一直在大罵約翰韋恩“告訴我你是約翰韋恩嗎? 我敢說(shuō)這種電影的靈感來(lái)源和抨擊對(duì)象絕對(duì)是約翰韋恩的《醫(yī)道》電影以黑色幽默的風(fēng)格重?fù)袅嗣绹?guó)右派東北往事第二季也不忘去嘲諷一下阿拉伯的勞倫斯經(jīng)過(guò)前半段的軍營(yíng)生活士兵們已經(jīng)徹底蛻變成了Born To Kill在越共尸體旁飲酒作樂(lè)狂笑著掃射平民成功實(shí)現(xiàn)了為和平而殺人 可能是前45分鐘拍的太過(guò)精彩導(dǎo)致兩段式的節(jié)奏后一段顯得有些乏力到最后雖然把主題指向了反戰(zhàn)但是在立意還有形象上都沒(méi)有什么創(chuàng)新庫(kù)布里克總是能用一大段暴力與嘴臭把原有的價(jià)值觀(guān)給摧毀但是立意越新就越難站得穩(wěn)破而不立到最后電影觀(guān)感還是不夠好
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(shuō)實(shí)話(huà)自己觀(guān)影時(shí)沒(méi)覺(jué)得這部的gaze有多problematic/patronizing東北往事第二季可能因?yàn)槲冶旧砭褪且粋€(gè)凝視這個(gè)群體的外人