录影带谋杀案

The feeling after saw this one is weird and creepy but still for some point I felt part of me also felt excited and chill out when the procedure going,I think it’s like an anti Nazi Nazi film just like a evil mirror,both side of it is the evil face and you can never tell which is true and correct,beyond all those illusions is that what we really made of.

💆🏽‍♂️

The scarier it appears the softer it back point is .

我从汞元素中站起 电流鞭打着我的意志 包裹着芯片条的皮肤仿佛挪动每一寸都会滞缓运作效率 艰难匍匐 散落一地的音源线和圆孔信号灯敲打着地上的碎玻璃 我走到庞大的屏幕前 看见循环播放着的不受限的森林图像 渴望着血和肉 垂涎于人性和肌肉动作 我开始把镶嵌在皮肤里的显像射线管剔除 鲜血和沥青像是开闸般涌出 我狞笑着从后脑勺软盘光驱中拿出那枚锈迹斑斑的3.5寸的两兆记忆 等待维持生命的最后一组电池耗尽 然而每次只能在我唯一肉眼中存在5秒的森林影像却永远留在了我的皮层 海马体完成了最后的工作 将这五秒归为人类引言 写盘 存档 上传到了空无一人的云端

—两年前观“Videodrome”有感

我并没有太看懂这部电影，电影中的一些情节令人费解。我觉得这是一部气质非常怪异，有些神秘的，令人不安的电影（甚至有点故弄玄虚）。

男主角是电视台的老板，在一个偶然的机会，他被“电视台竞技”所制作的电视节目所吸引。他找人调查这个神秘的节目的来源，最终找到了和他一起上节目的教授，惊讶地发现教授已经死了，电视直播只不过是播放的录像带。

男主角的女朋友找到了那个神秘的节目的来源，即“光学奇迹”这个组织。在录像带中，女友杀死了教授。女友也是这个组织的一员，她被派来引诱男主角。

男主角不断出现幻象，后来发现自己的助手也是“光学奇迹”的成员，自己看到的节目也只不是录像带而已。这个组织的目的就是控制男主角所拥有的电视台，他们成功地利用男主角将合伙人除掉了，并且也最终自杀。

影片中的一些情节令人费解，我难以理解到底哪些是幻象，哪些是现实，教授的女儿是哪个神秘组织的一员吗？还是她也是这个计划的一部分？那个组织为什么要杀了男主的女友？那个组织为什么非要占有这个小众的电视台呢？

我明白，当我开始怀疑现实和幻象的界限的时候，影片的表达就成功了。这部影片最重要的就是展示电视给人们带来的影响：电视已经成为了我们生活的一部分，甚至成为了我们的一个器官，它甚至比现实还要真实，它是一种超现实，我们沉迷于此，无法分清现实的世界和虚拟的世界。

电视满足了我们各种潜意识中的欲望。影片中的SM情节也不过只是噱头，成为了我们欲望的一个象征。

虽然我们有理由怀疑现在是否还有那么多人会看电视，如今互联网逐步替代了电视，成为一种新的超现实。将影片中的电视换成互联网同样成立。如今的我们已经很难摆脱互联网的影响了，互联网成为了我们的一个器官，我们在互联网上的时间甚至比在现实中的时间还要长。互联网深刻地改变了这个社会，并且永远改变了人类这一物种，这就是这部1980s的电影所具有的现实意义。

我们能够将影片中情节与如今的我们生活的现实世界联系起来：当我们看到男主角头上安装好能够引起并记录幻想的巨大装置的时候，第一反应就是这不就是现在的VR设备吗？

影片并没有讨论电视对人们的生活究竟是好是坏，只是将这种新媒体，新科技对人们的改变，以及它巨大的影响力展现出来。我们这个时代应该也拍摄一部网络带给人类的影响的影片，成为我们这个时代的体现。

David Cronenberg’s film Videodrome (1983) refreshes my memory of watching his another work The Fly (1986). The similar color tone and picture sense in these 80s science fiction movies brought me a similar fear of human alienation. This kind of alienation both results from some invention created by human self. While the structure of The Fly is based on a confrontation to instrumental rationality represented by science, Videodrome is aimed at mass medium which replaces the real with the semiotics. In Baudrilled’s theory of simulacra, media technology is not copying the real, but producing the real. Under the domination of the media world, the receivers become passive ones. So we can see two levels of controling by medium in this film: the first level is the Max’s pornographic channel and his group; the second level is the “new flesh” team centered on O’Blivion. For the Max’s channel, it is to induce majority to purchase and consume something the profit of which benefit the minority. The public, as the recipient, is controlled by the subconscious of the brain without recognize it. These control elements are basic-level emotional thoughts, sex, abuse, etc. For O’Blivion’s group, this controlling is based on a radical view of Mcluhan’s point that media is the extension of man. O’Blivion believe that human brain tumors caused by the interference of the videodrome signals are essentially a new organ that grows in the structure of mind. They believe that North America is gradually showing signs of weakness at a time when the rest of the world is growing stronger, and the soft pornographic video produced by Max is the result of this weak mental poison, a chronic corrosion of the public. Therefore, they intend to use the huge illusion machine of the film studio to achieve control and manipulation of the public. Therefore, "new flesh" group firmly believes that image world is more real than the inherent physical life. They do not fear the death of the flesh. Instead, they promote suicidal behavior in order to promote the growth of the "new flesh" in forms of image. Cronenberg set the end of Videodrome as Max’s self-dedication to the “new flesh”. He perhaps fled the power of videodrome, but transferred to the conscious illusion which is controlled by fake spectacles.