除了第三幕稍微走點心(其實也都是漫威流水線套路)幾乎一無是處宙斯那段最惡心對很多就當(dāng)個樂子看的觀眾就是一般的反諷喜劇套路對一些稍微接受過當(dāng)代人文理論教育的觀眾而言似乎又有更多含義:編導(dǎo)通過對“神的嘲諷表達對電影自身的反思性嘲諷(“宙斯的亂搞和《tokyo hot n0769》這部作品本身的亂搞不正是異曲同工嗎編導(dǎo)這是對漫威流水線體制的反諷啊)然而如果觀眾是真正嚴(yán)肅的思想者(而非只是掌握理論黑話的“儒林人士)就不難看出這種虛偽的自我反思-嘲諷也不過是一種看著像“思考的空轉(zhuǎn)罷了東北往事第二季沒有任何真正的解放性和思辨性透出一股導(dǎo)演兼編劇既要傍著漫威賺錢又要暗戳戳表達對漫威體制批判以彰顯自身“批判性的酸腐氣息
I think the problem is that, the real and original fights of suffragettes are better narratives and no less dramatic, but this story has to rely on fictitious characters, which may relate to broader suffragette profiles, but lack development and genuineness. Emmeline Pankhurst.