Protagonizada por el psicoanalista y filósofo Slavoj Zizek y magistralmente dirigida por Sophie Fiennes, The Pevert's Guide to Cinema (El manual de cine del pervertido) se estructura en tres partes en las que el filósofo nos acompaña por filmes como El exorcista, Sopa de ganso o Alien, y se inserta en los decorados de los clásicos Psicosis, Terciopelo azul, Matrix... The Pervert's Guide to Cinema ahonda en la psique humana planteando (y respondiendo) a interrogantes como, "¿por qué la libido necesita el mundo virtual de la fantasía?", "¿en qué medida la ficción estructura la realidad?", "¿cuáles son las razones por las que debemos tomarnos la fantasía en serio?"... Un fascinante viaje por el mundo según Freud.

Slavoj Zizek es autor de más de 50 libros, entre ellos Bienvenidos al desierto de lo real (2005), Irak, la tetera prestada (2006) y En defensa de la intolerancia (2007).

Sophie Fiennes ha dirigido Lars From 1-10 (1999), The Late Michael Clark (2000), Because I Sing (2001) y Hoover Street Revival (2003).

En Internet, enlace es una función que conduce al usuario a otro espacio virtual, sea una página o un servidor. En el Departamento de Audiovisuales, ENLACE conecta a su público con espacios diversos del arte audiovisual.

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Agradecemos al Festival de Cine Mar del Plata, Argentina, por la cesión de los subtítulos de la película, que ha hecho posible esta proyección.

By Dr Grey

A Documentary by Sophie Fiennes (2006)

Narrated and Presented by Slavoj Žižek

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Format: avi | Size: 692mb

Subtitles to spanish lenguage are avalaible from OPEN SUBTITLES or from SOLO SUBTITULOS and DIVXTITLES

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.

Perversion in psychoanalysis: The basic structure of perversion is that you perceive yourself as the instrument of others' jouissance. This is why, for example, Don Giovanni is a pervert. What is his big trick? His gift is not that he is beautiful, but that he can guess or discern the fantasy of each woman, and he tries to stage that fantasy. Which is why Lacan says une par une–une pour une; for each her own specific fantasy. For the pervert is totally void, he is there only to serve the other, to be the slave of the other's fantasy. This is very nicely expressed by Lacan: the formula of perversion is the simple reversal of the formula of fantasy. This is precisely what happens in psychoanalysis. The psychoanalyst is a passive blank, an empty screen onto which the analysand projects his or her own fantasies. Of course, as we all know, here is where the difference begins: rather than serving the fantasy, the analyst undermines it. — Partial Transcript (pt1) of The Pervert's Guide to Cinema




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