A woman moans as she enjoyed being pleasured by being whipped by a man, but whips a TV with the woman on the screen.
An abstract theme of this film is sexual torture
A brief scene from a fake pornographic film is seen.
A man and a woman (Max and Nicki) have sex. We see the man thrusting in the distance along. He pierces her ear while doing this.
A naked woman is beaten on a television, which we see briefly.
One of the characters takes a cigarette and puts it out on her breast.

A minor character is coerced by Max to give him the inside scoop on Videodrome. Max first tries to bribe her by stating, “we can take a shower together,”, but after he realizes she’s into the much younger male waiter working nearby, he implies he can get her a room with a male prostitute.


Film review:Translated by www.rabudo-ru.com


To some extent, David Conan Borg can be regarded as the most thorough and successful director who reflects on the alienation of human beings by instrumental rationality. Whether it is the mechanization and industrialization of modern sex in car crash, the human tragedy of excessive infatuation with rational science in fly, or the irrational world surging under hallucinogens in Naked Lunch, it is the perfect embodiment of David Conan Borg’s violence and strange images. The video murder directed by him in 1983 can be called a masterpiece among the masterpieces.

If we tear off the cloak of science fiction and surreality, the director’s intention is still quite obvious, and the reflection on the symbolic virtual world constructed by the communication world. First of all, the identity of the protagonist Marx embodies some resistance. As the disseminator of pornographic and violent films, he is a functional stimulus of rational society. As Benjamin said, he plays the role of creating shock in the era of mechanical reproduction. This shock points to recreation and a kind of perceptual pleasure. Awaken the increasingly objective subject in the continuous perceptual stimulation. Secondly, some of the protagonists’ behaviors are also mockery of standardizing daily life. For example, the section flirting with guests in the TV interview is deseto’s tactical subversion of the mainstream order. Thirdly, the protagonist or director has a fascination with oriental culture. There are three such hints in the film: Japanese erotic films, Malaysian TV signals and Indian dance in restaurants. This is because for the rational western world, the mysterious East contains more perceptual things. This may be a collective unconsciousness in the western society and the inner desire of the western society. In this sense, the eastern world is not only the past after the western modernization, but also the future of the West and human society (Weber). Therefore, in the first half of the film, the protagonist Marx used strange images to stimulate the weak nerves of Western society, which played a role of spiritual salvation. However, when the film and television field was involved, everything changed. Max indulged in the film works of the film and television field and had hallucinations, so he couldn’t distinguish reality from illusion. Although the brain tumor caused by some TV signal causes this illusion in the film, the director’s intention is a pessimistic display of the symbolic world imitated by the mass media. From the process of information production, human beings have experienced three stages: imitation, reproduction and imitation. Among people, reality and symbols, the three stages embody three different relationships. Imitation is an incomplete description of reality, replication is a mechanical copy of reality, and imitation is a copy of symbols. In the first two stages, people can also have a relationship with reality, but in the third stage, people can no longer have a relationship with reality. Therefore, in the world of imitation, People don’t know what is reality and what is the symbol produced by imitation. Just like the people in the cathode ray communication meeting in the film, they are accompanied by TV all day, because in their view, TV is reality, which is as real as reality. More extreme, sometimes the symbolic world composed of imitation is more real than reality. Brian o’briwin in the film said: the screen is a part of the brain structure. Therefore, no matter what appears on the TV screen, it is the original experience for the public. Therefore, television is reality, and reality is not as good as television Therefore, for information makers, if they control the symbolic imitation, they control the reality. The power competition of imitation has evolved into the competition for cultural capital, economic capital and everything in reality, just like the competition between film and television venues and film and television venues for the broadcasting market and Marx. Here, Marx, It can also be said that the whole mankind has fallen into a paradox and wants to fight the rational world with the perceptual stimulation of media information to obtain a certain sense of freedom, but finally fell into the power struggle of the imitation made by media information and lost freedom completely. Marx in the film ended this tragic fate with suicide, but where should the whole mankind go?

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