The Pervert’s Guide to Cinema Part 1 & 2

Slavoj Zizek is a phenomenon. This popular and untiring Slovenian sociologist, philosopher and culture critic has a great influence on contemporary political and cultural debate with his publications and lectures on themes including fundamentalism, globalisation, human rights, cyberspace, post-modernism and multi-culturalism. Sophie Fiennes had the idea of putting Zizek into models designed by Remko Schnorr and Ben Zuydwijk of the sets of several famous feature films. With infectious enthusiasm, Zizek lets his – highly (post-)psychoanalytically influenced – ideas loose on films such as The Birds, The Conversation and The Great Dictator. It is no accident that Zizek often stumbles upon Hitchcock, probably the most Freudian of all film directors. For instance, he compares the three floors of the scary Norman Bates mansion (Psycho) with the Freudian concepts of Id, Ego and Superego. And he links the unforgettable scene in Blue Velvet where Kyle MacLachlan, hiding in the wardrobe, observes the violence and frustrated interaction between Isabella Rossellini and Denis Hopper, with the moment when an innocent child sees the sex act performed by his parents. Zizek presents his arguments so naturally, so convincingly and so rapidly that the viewer’s head is left spinning. To what degree are film makers aware of the unconscious or subconscious components of their own creativity? And how much do these components contribute to the success of their films? (EH)