Slovanian cultural critic and philosopher Slavoj Zizek takes a wild trip into the subconcious of the movies–this is a terrific lecture, by what ought to be but isn’t a very intense parody of an Eastern European academic, about desire, lust, and every peeping tom’s favorite medium. I don’t necessarily agree with all his very Freudian readings of Alien, Mulholland Drive, City Lights, The Birds, Revenge of the Sith, etc etc etc, but it’s a hell of a grand time for anybody who digs movies. Caveat: Zizek has now replaced Werner Herzog as the European who narrates my dreams, and it’s a little scary.
Here’s someone else’s blurb:
Is cinema one big Freudian slip? What can the Marx Brothers tell us about the workings of the unconscious? And why exactly do the birds attack in Hitchcock’s masterpiece of horror? The Pervert’s Guide to Cinema takes the viewer on an exhilarating ride through some of the greatest movies ever made. Our guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst, who delves into the hidden language of cinema, uncovering what the movies can tell us about ourselves. Known as ‘the Wild Man of Theory’, Zizek illustrates psychoanalytic theory using examples culled from film and pop culture. From Charlie Chaplin to Ingmar Bergman, from the Wachowski Brothers to David Lynch, Zizek thrills with his formidable insight and provocation. He illuminates the screen with his passion, intellect, and unfailing sense of humour. Conceived and directed by documentary filmmaker Sophie Fiennes, The Pervert’s Guide to Cinema takes the form of a film essay in three parts. Shot on location and in replica sets, the film creates the illusion that Zizek is speaking from within the films he is discussing. The Pervert’s Guide to Cinema provides all the tools necessary to read movies in an entirely different way ?with Zizek studying his notes in the Psycho (1960) fruit cellar, observing the attempted exorcism in William Friedkin’s The Exorcist (1973), or revealing to The Matrix’s (1999) Morpheus the true meaning behind those red and blue pills. Zizek says: ‘Cinema is often described as a pervert’s art, because cinema tells us how to organise our desires’. This film exposes the very conditions that regulate our desires, inside and outside the movies.