Guía ideológica para pervertidos

For those of you who saw: "The Perverts Guide to Cinema", the first answer you'll want is no, Slavoj Zizek's near-impenetrable accent and lisp has not improved. Occasionally, the film will throw sub- titles on the screen to assist in understanding Zizek's musings on the devotion humans have to various "isms" and how they related to very early (Hitler's "Triumph of the Will") and very recent (Nolan's equally unrealistic "The Dark Knight). Presumably one can turn on the closed captioning feature on their laptop and it would be a great help.

Once you get past this communication hurdle you'll hear Zizek cover a fair amount of obvious ground - "The Triumph of the Will", "The Last Temptation of Christ" and "Full Metal Jacket" have clear and unambiguous agendas which their audiences came to see. More Trojan Horse offerings make for more interesting discussions. Kudos to Zizek for leading with and praising the wildly underrated "They Live" John Carpenter's condemnation of modern consumer society. In other cases, say "Titanic" his argument that it contains a coherent agenda seems stretched and in others - particularly Taxi Driver (which is a study of the decent into madness in an insane environment) - his contention of it being an ideological argument seems to miss the mark.

In short, not as interesting as his review of the psychoanalytic elements of, particularly Hitchock, movies from the original "Perverts Guide" but of interest to the cinephile.

Sophie Fiennes' film, 'The Pervert's Guide To Ideology', is essentially just an illustrated lecture, given by Slovenian philosopher Slavoj Zizek. The illustrations come from the movies, but in the main, Zizek isn't interested in the ideologies of the film makers - rather, he uses selections from the films' content as illustrative of the processes of real life, and the ideology he is interested in is not Nazism, or communism, but rather the way we all frame our own lives, and the universal themes linking our need for and use of such frames. Some of this universalist framework comes from psychoanalysis, although Zizek's Freudian perspective only really manifests itself in occasional unproven assertions that the it is the analytic process that has revealed the truth. Finnes shoots this well, and Zivek is intermittently interesting, but overall, the message is both highbrow and yet strangely unrevalatory; I found it hard to understand what I was meant to take away from this film, or in other words, what the film's own ideological case actually was. It's almost better enjoyed as a simple piece of discursive criticism than a coherent (or, for want of a better word, we might say "ideological") discussion of ideology.

The hyperactive Slovenian philosopher Zizek uses extracts from movies to show to us how the things we believe in (our ideology) are created by the external society. He goes in the sublime message of several scene's of famous movies. Once again the sound of music is his favorite. The only question that must be raised is the chicken and egg problem. Do these messages make society or do the desires of society make these messages. With advertisements it is of course clear that the message brings the ideology of the maker has to be pushed to us, but with movies we can have more doubt. This is not addressed in this movie. Furthermore I question if movie is the right medium to bring the message of Zizik. I thought in many moments that the images of the movies distracted from the story he was telling, my mind went into the movie, not into Zizek's story. For personal use I recorded the sound and listening to that I was much more able to think about the messages of Zizek.

But all in all a worthwhile evening

The pervert's guide to ideology is a thought provoking documentary, but at the same time enjoyable and full of wit.

Ideology is so ingrained in society that it has affected our dreams. If we want to change our reality we need to change our dreams first. That seems to be the main theme of the film. Applying psychoanalytic theory to film interpretation, Slavoj Zizek attempts to uncover the hidden meaning of many Hollywood films.

The first film commented by Zizek is 'They Live' which is about a man who finds a special pair of sunglasses that allows him to see the real, scary and subliminal message behind posters and adverts in magazines, but also the real monstrous face of some of those living around him. This sets the tone for the film. For the next two hours Zizek attempts to uncover the hidden, subliminal and controlling messages of a number of films produced over the last 50 years. His argument is that Hollywood dictates our fantasies, dreams and desires through ideology. Taking this further, Zizek comments that the ultimate engineered fantasy is not 'to take what we want but to want to be desired'.

Desire, is not just a desire for something, but also a 'desire for desire itself'. This is the main way that capitalism works. There is an urge to consume: 'people nowadays are made to feel guilty because they don't enjoy themselves enough', he claims.

For Zizek, there is no 'big other', no guaranteed, inherent meaning. We are alone and we have to live with that. All ideology is constructed for manipulation and control. The Titanic for instance, demonstrates that 'it is OK for the high classes when they are in low vitality to mix temporarily and sexually exploit the lower classes'. Vampires and the undead are also a demonstration of the class struggle, with the blood sucking vampires representing the high classes.

Similarly, the shark in Jaws represents all fears of American people; Americans may fear natural disasters, aliens, immigrants or other, and the shark unifies all those fears. This ideology was adopted by the Nazis who unified the enemy in the face of the Jews, according to Zizek.

Are Zizek's psychoanalytic explanations to films 'real'? This is up to you to decide; however, they sound plausible and are worthwhile for consideration. Regardless of whether you agree with him or not, Zizek will change the way you watch films and Hollywood will never be the same again.

In Marx Reloaded, Zizek's previous film, this hyperactive Slovenian philosopher was forced to share the screen with some of the world's most clued-up thinkers. It was a great thought-provoking spectacle, full of provocative statements (including his definition of communism as "a world where everyone is allowed to dwell in their own stupidity"). But for me Zizek works best in the company of others. Let him loose, as does Fiennes here, with the freedom to write a script which I felt at times she was struggling to follow, and the insights dry up pretty soon. I wasn't made to think here. And frankly the title was a bit lame - why not call it "A Pervert's Guide to Cinema 2"? Since the formula is exactly the same as the previous film Fiennes directed him in. The sketches in which Zizek appears in locations from famous movies (The Sound of Music was my favorite) are relentless, and at over 2 hours needed reigning in. I mostly enjoyed it, but only as a silly romp. I took nothing away from the cinema except a belly full of popcorn.