parasitic good

2007-12-18 17:34:10 　　来自: sonoko (论持久战)
Nazarín / 娜塞琳的评论   

　　"....in Bunuel the degradation is conceived less as accelerated entropy than as a precipitating repetition, eternal return. The originary world thus imposed upon the successive milieux not exactly a slope, but a curvature or cycle. It is true that a cycle-unlike a descent-cannot be entirely 'bad'; as in Empedocles, it alternates Good and Evil, Love and Hate and indeed the lover, the good man and even the saintly man take on an importance in Bunuel which they lack in Stroheim. But, in some respects, this remains secondary, for the make or female lover, the holy man himself are - according to Bunuel - no less harmful than the pervert or the degenerate (Nazarin)".
　　
　　"...Beast of prey or parasite - everyone is both simultaneously. A diabolical voice can tell the holy man Nazarin, whose good works constantly hasten the degradation of the world:'you are as useless as me', you are nothing but a parasite. The rich, beautiful, good Viridiana only evolves through the consciousness that she gains of her own uselessness and parasitism, which are inherent in the impulse of the Good. There is an identical parasitic impulse everywhere. This is the diagnosis. Hence the two poles of the fetish, fetishes of Good and fetishes of Evil, holy fetishes and fetished of crime and sexuality also meet and interchange, like Bunueal's whole series of grotesque Christs, or the dagger-crucifix of Viridinana. The former might be called relics, and the latter, in the vocabulary of sorcery, 'vults' or voodoo objects. They are the two aspects of the same symptom. Even the two lovers of The Golden Age follow the upward course of the world less than its downward slope, attaching themselves to fetishes whose possesion they dispute, each foreseeing time's attrition on the other, or the future accident and already separated".
　　
　　"...in Bunuel, the discovery of impulses proper to the soul - as strong as hunger and sexuality and made up of them - was to give perversion a spiritual role which it lacked in Stroheim. And, above all, the radical critique of religion would gain nourishment from the sources of a possible faith, the violent critique of Christianity as institution would give a chance to Christ as person. Those who have seen an internal debate with a Christian impulse in Bunuel's work are not wrong: the perverse and, above all, Christ, sketch out a beyong rather than a within and give resonance to a question which is expressed as that of salvation, even if Bunuel has strong doubts about each of the means of this salvation;revolution, love, faith".
　　
　　"....To reach a repetition which saves, or which change life, beyond good and evil, would it not be neccessary to break with the order of impulses, to undo the cycles of time, reach an element which would be like a true 'desire', or like a choice capable of constantly beginning again( we have already seen this in respect of lyrical abstraction)?"
　　
　　"...He injects the power of repetition into the cinematographic image. In this way he is already going beyongd the world of impulses, to knock on the doors of time and free it from the slope or the cycles which still subjugated it to a content. Bunuel does not cling to symptoms and to fetished, he elaborates another type of sign which might be called 'scene' and which perhaps gives us a direct time-image. This is an aspect of his work which we will come across later, since it goes beyond naturalism. But it is from insider that Bunuel goes beyongd naturalism, without ever renouncing it".
　　
　　from Movement-image