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)話自己觀影時(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
3D VER重溫嗯結(jié)局一般般吧收得不算好毛毛打開(kāi)門(mén)沒(méi)見(jiàn)到小女孩就完了雖然是很開(kāi)放東北往事第二季讓人有想像空間不過(guò)急了點(diǎn)感覺(jué)沒(méi)啥煽情
騎??涉浪:106.80.43.251
#SIFF 很勵(lì)志啊 雖然套路 但還是成功感動(dòng)到我了 有Dream還是要來(lái)US實(shí)現(xiàn)吶~Practice is the road to perfection
鴨子阿布:121.76.56.238
「東北往事第二季」紀(jì)子和小女兒的對(duì)話一下讓我理解了很多事但我的結(jié)論卻不是life is disappointing. 也許是我太年輕還在想方設(shè)法粉飾現(xiàn)實(shí)喜歡三代人的對(duì)比:一代比一代無(wú)禮一代比一代誠(chéng)實(shí)在哀嘆禮貌和優(yōu)雅逝去 今不如昔的同時(shí)覺(jué)醒的誠(chéng)實(shí)其實(shí)也會(huì)發(fā)展成強(qiáng)大的力量