| in the UK | in the United States Germany | Denmark | The Belgian biographical/drama/historical film The Danish Girl, released in 2016 and directed by Tom Hopper and written by David Ebershoff Lucinda Conson, tells the story of the film written by Lucinda Conson and based on David Ebershoff's novel of the same name published in 2000, whose novel was inspired by the true story of Inna Vigina. Inanna was originally a boy, his wife Greta Vigina was a painter and happened to need a female model, so she let her husband dress as a woman as her model, unexpectedly the paintings were very popular, there are portraits of Inna everywhere in Copenhagen, and in 1931 Inna transformed herself into a woman through surgery, becoming the first transgender person in the world.
A film is also a philosophical proposition, I see the philosophical ideas and value systems behind the director's lens, all the stories originate from a defect, which is not the meaning of the existence of montage. I was going to comb through "Carol" and "Danish Girl" in a row, but when I started to write, I found that there were many things I wanted to say and sort out, so let's go one by one! First, let's talk about a few interpretations of the symbols used in Danish Girl. Do you remember such a dialogue in which Gerda (the heroine) painted a portrait of a man, and in order to comfort him, said such a passage, "It is difficult for a man to get used to being stared at by a woman, of course, women have become accustomed to it, but men ... Succumbing to a woman's gaze can be uncomfortable. The setting of this line and plot made me feel the director's ridicule of the art field and social aphasia in the context of patriarchy for a long time. First of all, Gerda's identity is that of a painter, so the discussion of the art of painting itself in terms of sex has never been separated. First, how Freud's pansexualism defines art—it is "the sublimation of sexuality and the release of sexual desire." "The pleasure of painting art comes from the voyeuristic mechanism of viewing. Secondly, this kind of voyeurism allows us to quote the Frankfurt School Benjamin once proposed - "hidden male" can be better understood, that is, the characters in oil paintings are often women, and the people who watch oil paintings are men. And from the study of the visual line of sight of the female figures in the painting, it can also be concluded that there is a potential connection between such a look and being seen. It is a description based on male (visual) desires, and has been established as a gender patriarchal idea in the setting of the subject's personality. And Gerda easily and playfully pointed out the psychology of the male being painted, on the one hand, he appreciated the cleverness of the director's character setting, on the other hand, he could return to the hint and display of sex through the mouth of feminism. (The women's liberation movement that began at the end of the 19th century did not contradict the era of the film in terms of time, so let me characterize Gerda in this way!) In fact, when I say this, I also pave the way for a better explanation of "how a wife bends her husband" later. Ha ha!!! Constructed sex - "I was originally a female petite" Next, let's see how little freckles realize themselves step by step" Turned out to be a soft sister! ”。
First of all, in the opening of the film, the director uses many symbolic symbols, which seem to be just a simple landscape shooting. Let's get a feel for it first! Lake water... A lake surrounded by reed mats... The tree painted by the tree man... The female protagonist looked at the male protagonist's tree in confusion... Got it? The most obvious... Swaying grass Yes, all I have listed are human physiology that can symbolize the feminine temperament... It was all said by Freud... Through a series of psychoanalytic symbols, Hobo is able to save the redundancy and boredom of many line narratives while showing the artistry of the film. The scenery at the beginning of the film is laid out, and all the paintings of the male protagonist point to these intentional symbols, suggesting the existence of another inner struggle. Next, due to the wife's unreliable girlfriend's pigeons, the male protagonist had to wear women's clothes as a model for the female protagonist, which released the male protagonist's true self "Lily". Earlier we hinted at the psychological mechanism by which men feel uncomfortable under the gaze of women, but the little freckles did not, but were elated and uncontrollable. This is precisely because of the gender identification barriers that exist in his inner cognitive structure. A man's biological sex is wrapped around a woman's psychological sex. Therefore, he did not reject this kind of behavior of men dressing up as women, but instead played with his wife and played sister Tao Ah Smida! I really want to say that hairstyle and lip color are really important!!! Gender cognitive impairment is not "schizophrenia!!! But the film was limited by the level of scientific medical treatment at that time, and I forgive this ignorant doctor, because one of the typical characteristics of schizophrenics is the loss of "self-knowledge" and the little freckles of others know everything very well! Fortunately, the floor is not high and runs fast! In the end, the male protagonist tried everything to complete the construction of gender. The human body is not an empty shell, according to Lacan's mirror cognition, a person must first have the cognition of the impression of his own body, which constitutes a part of the symbolic personality. In the process of finding itself, the little freckles hide their genitals in this way, and then... Mirror... Lacan said that human desires are the desires of others, that is, the desires of others. The self in the mirror, this kind of shooting so cleverly shows the constant transformation of the subject and the guest. Including an affair with Ben Meow, however, the reason for the failure is that Freckles is a male non-identified disorder, and the woman's body that she has dreamed of through surgery has also become a lesbian! This is why the male protagonist can still love his wife as deeply as before. The world of the artist is really incomprehensible to ordinary people, and when I was about to collapse looking at this couple sometimes sisters and sometimes husband and wife, the heroine finally couldn't hold back. But at this time, the female consciousness part of the male protagonist consciousness field has occupied the high ground. So he said, "It doesn't matter what I wear anymore." This neglect of bodily symbols and the emphasis on spiritual traits was undoubtedly not intended to marginalize his feminine physical features, and eventually, the awakening of the feminine part led him into another life. The scene at the end of the film is also worth playing. The heroine came to the man's hometown - that is, the place where it was all trees and lakes. The long shots and serene tones seem to symbolize the male protagonist's return to his mother's womb, the warm place where a human trait was first formed.
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