男主人留下或離開(kāi)的理由都是保衛(wèi)“l(fā)and一個(gè)是在廣角攝影下人幾乎要扎進(jìn)泥土的可見(jiàn)的家園另一個(gè)則是存于頭腦和言談的想象的“家園在家時(shí)女主人有一雙穿長(zhǎng)襪搭配的中幫皮鞋萬(wàn)萬(wàn)沒(méi)想到電影下載可以在找主教時(shí)用來(lái)搭配得體的衣裳也可以穿來(lái)在草間腸道和泥路上走但這雙鞋不臟反而很干凈我在這里最確切地感到女主人對(duì)自身生活世界的愛(ài)護(hù)也正是對(duì)這種愛(ài)護(hù)的愛(ài)護(hù)成為男主人執(zhí)拗抵抗的主要(甚至是唯一)邏輯獨(dú)白在此用得恰到好處——內(nèi)在的獨(dú)白正有抵抗外在的感召之用它也正好可以做在心中回想生活世界時(shí)的畫外音末尾艾略特用得太妙了:growing good of the world也與許多隱秘的生命有關(guān)
Paris is not burning, Paris Has Burned. We should be watching to celebrate and learn about the harsh realities of the ’80s ballroom scene, but we should also be aware of the exploitation involved in its representation.