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The Pervert's Guide to Cinema 2006
Description: The Pervert's Tutorial to Cinema offers an introduction into some of Žižek's most exciting concepts on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling movies of David Lynch, or overturning everything you thought you knew about Hitchcock, Žižek illuminates the screen with his passion, intellect, and unfailing sense of humour.
Released: 16 Jan 2009 Director: Sophie Fiennes Writers: Slavoj Zizek Actors: Slavoj Zizek Genres: Documentary
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The Pervert's Guide to Cinema Reviews:

He's stocky, sweaty, slightly cross-eyed and restless. He stands in front of us and calls himself a pervert. He claims that we – the movie viewers – perceive the screen as a toilet bowl, and are all secretly wishing for all the s**t to burst from the inside. He's unpredictable and scary. Well…? Come on, you should have guessed by now: he's one of the leading philosophers of our age.Slavoj Žižek is both a narrator and a topics of Sophie Fiennes' extraordinary fresh film, A Pervert's Tutorial to the Cinema. Fiennes illustrates a feature-long lecture by Žižek, and does so in two ways: by providing exemplary movie clips and putting Žižek on true (or reconstructed) territories from the films he speaks about. It's everytime great to watch neatly captioned scenes from nice films (although Revenge of the Sith got here as well), but the main attraction of A Pervert's Guide… is Žižek himself. What makes the film such fun to watch is the unanswerable question one cannot support but ask over and over again: what is more outrageous, Žižek's views or Žižek's screen presence? In a documentary by Astra Taylor (Žižek!, 05), Slovenian philosopher at one mission confessed his fear of being silent. Because, he claimed, he feels like he doesn't exist in the first place, the only method to create all another folks trust he does is to talk constantly and feverishly. And talk he did, and how. Also A Pervert's Guide… is dominated by his voice – delivering excellent English in most crazy way, and making some astonishing points about the cinema.What are those? Well, for example he sees Chaplin's reluctance towards talking picture as a sign of an universal fear of voice itself (kind of alien force taking over the human being – think the ventriloquist segment of Dead of Night [45]). He tells that the perverse nature of cinema is to teach us to desire certain objects, not to deliever us with them. He identifies Groucho Marx as super ego, Chico as ego and Harpo as id. He tells a million another interesting things, and all the time we cannot take our eyes off him, so persuasive (and captivating) are his looks. At some mission I couldn't support but stare at his thick, scruffy hair and wonder what type of a brain lays stored underneath. Craving, of course, for more insights.Most notable are Žižek's readings of Lynch and Hitchcock (which comes as no surprise since he has written about both of them). The cumulative result of many brilliantly edited clips from their respective work made those parts of Žižek's lecture memorable and – unlike others – hard to argue with, since he seems to really have gotten things right on these two directors. This doesn't go for his reading of Tarkovsky for example, upon whom he relentlessly imposes his own utterly materialistic view of reality, dismissing precisely what's so remarkable in all Tarkovsky (namely powerful religious intuitions and images).The question isn't whether Žižek is inspiring and brilliant, because he is; or whether Fiennes movie is worth watching, because it is likewise. The true question is rather: are Žižek views coherent? One smart observation after other create for an overwhelming intellectual ride, but after the entire thing is over, some doubts remain. For example: while considering Vertigo (58) Žižek states that what's hidden behind human face is a excellent void, which makes face itself only a facade: something of a deception in its own means. However, when in the final sequence we hear about the ever-shattering finale of Town Lights (31) as being a portrait of one human being totally exposed to another, it's difficult not to ask: what happened to the entire facade-thing…? Why could we grant Chaplin's face intrinsic value of the true thing and deprive Kim Novak's of this same privilege in two bold strokes…? Or maybe that incoherence might also be read in Lacan's terms? (The name of the notoriously "unreadable" French psychoanalyst is fundamental to Žižek's thought.) The movie has all the virtues of a splendid two-and-a-half hours lecture: lots of ground are covered, many perspectives employed, even some first-rate wisecracks made (when Žižek travels on a Melanie Daniels' boat from The Birds [63] and tries to think as she did, he comes up with: "I wish to f**k Mitch!"). But it has also one shortcoming that isn't inherent to two-and-a-half hours lecture as such: it's almost obsessively digressive. Žižek's yarn about how far are we from the True is as nice as any another psychoanalytic yarn, but after some 80 mins it becomes quite clear that one of Žižek's perverse pleasures is to ramble on and on, changing topics constantly. Overall result is this of being swept away by a giant, cool, fizzing wave: you're simultaneously taken by surprise, refreshed, in mortal danger and confused no end. As you finish watching, your head is brimming with concepts not of your own and you're already planning on re-watching some movies – but you also share a sense of having survived a calamity.The ultimate question is: did Žižek lost it? Or haven't we even came close to the true thing? Once cinephilia becomes punishable by imprisonment, we shall all meet in a one large cell and finally talk to every another (not having any films around to turn our faces to). I dare you all: who will have enough guts to approach Žižek and defy him? My guess is that once you look into those eyes in true life, you become a believer.


Bear in mind, any movie (let alone documentary) which asserts any type of truth, will generate an adverse and proportional amount of cynicism, from those to whom any recommendation of and or find for truths is already meaningless, those of you who are already Masters of psychology, film, and captains of the soul, will no doubt search this film redundant, after all, you already know everything there is to know. Congrats.For those of us in the minority like myself, I found "The Perverts Tutorial To Cinmea"....mostly brilliant, and worth watching for those interested in movies, psychology, and modern philosophy.A tiny like Scott Mclouds' "Understanding Comics", director Sophie Fiennes, inter-grates Slovene philosopher, psychologist, and social critic Slavoj Zizek right into many of the movies and specif scenes he discusses. The cover is an photo from "The Birds"(Zizek takes a boat out to re-create the shot).Lacanian Psycho-analysis, does not necessarily scream, an evening of nice fun...but it is! If you like films that is.... Having some knowledge of Lacanian psycho-analysis supports (Symbolic, Real, and Imaginary) are terms which receive thrown around a tiny loosely at first, but the scenes which Zizek selects and analyze create remarkably clear what was everytime for me, a very abstract subject. In fact, it's probably better to have a familiarity with the movies he's discussing than with the terminology he uses, which becomes clearer as the movie goes on.Why I love, this movie isn't because it picks nice movies to analyze or reveals nice truths about Lacan, but shows in a very practical and intelligent manner, where movie and psychology (and by default philosophy) meet.Why is "The Sound Of Music" kinda fascistic, why is "Short Cuts" about more than just class and alienation, why do the birds attack in "The Birds", what is there to learn about the mind from "Alien Resurrection", what does the planet of "Solaris" want, what does "Psycho" and "The Marx Brothers" have to do with every other, and what the hell is David Lynch getting across in film after movie...well Zizek has some ideas.The role of the voice in both "The Excorcist" and "Star Wars: Revenge Of The Sith", is maybe the films strongest and most lucid moment, when he gets into feminine sexual subjectivity I start to wonder...at one mission Zizek admits his feeling that flowers are a type of decorative vagina dentatta, that they are disgusting and could be hidden from kids (jokingly, it seems but...).Anyway, it's a fascinating documentary, which anyone who has ever seen a movie, and thought it meant something more than was literally stated, could create an attempt to see.And anyone interested in Slavoj Zizek, this is a gotta as well, much less dry than "Reality Of The Virtual", and more direct than "Zizek!", two another pseudo-docs, about "the Elvis of contemporary cultural criticism", as he is being dubbed, in the English speaking world."The Perverts Tutorial To Cinema" is NOT about the role of sex in cinema. Zizek claims cinema is the ultimate pervert art, because it teaches "how to desire, and not what to desire", and that it is the only contemporary art form that can let for these desires to be articulated. This is not a movie about finding the reality in cinema, it's about finding the cinema in reality, and how necessary and exciting that can be. Difficult to find, and a bit long, but well worth the trouble, one of the most "stimulating" film watching experiences I've ever had.


In this two hours and a half documentary, Slovenian philosopher Slavoj Zizek uses psychoanalytic theory to analyze clips of many classic films. As a theory of human behavior, psychoanalysis is quite outdated, surpassed by more biologically centered theories of the brain. However, psychoanalysis has undeniably influenced many popular directors in the past (for instance, Alfred Hitchcock or David Lynch, and Zizek analyzes here clips of their films), so in this sense this film is interesting to have a tip of what these directors might be getting at. This movie is very entertaining (Zizek is quite a hero in his own right, with his thick accent, gesticulating body and wildly hypothetical theories) even if the concepts place forward here are probably wrong and outdated. The movies Zizek spent more time analyzing here are Vertigo, Blue Velvet, Psycho, The Birds and Lost Highway, but aside from Hitchcock and Lynch, there are clips from another directors, such as Kubrick, Chaplin, Tarkovsky and others. And in a one of the more interesting parts, he shows us a Disney cartoon from 1935 named Pluto's Last Judgment, and we see how it surprisingly mirrors the Stalinist present trials of a several years later. Sophie Fiennes (sister of Ralph and Joseph) directs. She wisely makes Zizek talk from sets that mimics some of the films he is analyzing.



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