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
能讓人心平氣和看下來(lái)的簡(jiǎn)單故事不好拍看的時(shí)候就在想能這樣細(xì)膩的表現(xiàn)一段經(jīng)歷看來(lái)是導(dǎo)演的親身經(jīng)歷了(摘自熱評(píng):法國(guó)諺語(yǔ)說(shuō)一個(gè)淘氣頑皮的孩子要挨四百下打才能消除災(zāi)難怯除惡魔變成健康聽(tīng)話的兒童路易十三鎮(zhèn)壓新教徒1621年打Montauban城的時(shí)候打了四百大炮因?yàn)槌抢锏木用翊蠖际切陆掏?不過(guò)他們也沒(méi)屈服東北往事第二季的說(shuō)法延用下來(lái)了后來(lái)說(shuō)一個(gè)人faire les quatre cents coups是說(shuō)他過(guò)放蕩的生活)他還是個(gè)孩子卻已經(jīng)長(zhǎng)大了
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I guess what we can do is live for the little joys and surprises that life affords us, that it can give us..