Sexual fantasies for the sexually repressed. Like the alcoholic that has a “tolerance”, stronger doses are always required to get the buzz, the vicarious experience of James Thurber’s Walter Mitty as potential psychopath. If misogyny is so appalling then why is it so crammed down our throats and pervasive? Films like The Girl With the Dragon Tattoo with an ostensibly proto-feminist subtext actually reinforce the worst elements of sexist misogyny and structural patriarchy. Insidiously, when the Left does it, its somehow made to seem more palatable, digestible, when it comes from the pen of a Stieg Larsson. This Left which is wholly capable of incarnating the sham morality of bourgeois ethics; a seething conservative and reactionary violence of proportions equal to its right wing counterpart. The identical one dimensional world where women are sex objects and men action heroes: it’s back to Barbie and Ken.
Larsson is part of the classic bourgeois position that generates apparently opposed and contradictory views that are equally aggressively militant and destructive. The usual combination of materialism and idealism, resulting in a form of internal violence needed to maintain the system. In fact, Larsson’s socialist violence , in fact even establishes the post-modern brand of market capitalism in an even more entrenched and reinforced manner, under the guise of true aims and noble causes. Its obvious there is a violence at the heart of the bourgeois illusion that can seem to be reconciled without destroying itself.
The liberal in such cinematic representations, the classic trope, is a duped evolutionary force, hardly radical; the yearning for freedom and fairness ends up producing more social constraints that they are supposedly opposed to. They increase unfairness by trying to secure fairness. They seem to call into being the things they loathe; the illusions of freedom, the loosening of social ties, and then the grip of coercive social forces. Domination over people is immoral, but if people can be un-peopled, commodified, then domination over things, such as women, is legitimate. By a twisted irony, the so-called revolutionary liberal, haters of violence and coercion, become the agents of, forced by their own efforts to produce coercion and violence…
The biggest thing on the internet excluding cats? Its probably misogyny in all its varied form. Racism and homophobia seems to make charges for the lead, but sexism seems to rule the evil roost; basically unchecked, and even unnoticed. The girl with the Dragon Tattoo falls into this concoction; basically a perverted misogynous sexual fantasy. A twisted pathology of an old so-called leftist.
The male savior, the white knight, staggering from rescue to rescue, An old reporter writes about an old reporter who gets to emotionally save, and have sex of course, a young woman, a punk type, teaches her how to love again, salves her wounds from sexual assault, and like a good priest converts her away from lesbian impulses. Father knows best. What is really twisted is that that this figure, Lisbeth,was the real name of a woman he witnessed being gang-raped as a teenager. So, Larssen, gets to write a story, where in effect he participates in the crime by screwing her as well. Pretty revolting. But, hey, he’s helping her!
…The debate has raged ever since Stieg Larsson’s bestselling thriller, the first in a trilogy, was published in Sweden in 2005, a year after the author’s death. The film, released in the UK last Friday – described by the Guardian’s Peter Bradshaw as “a forensic procedural with explicit violence” – seems to have muddied the waters further. Originally titled Men Who Hate Women, the book divided critics. Some saw Lisbeth Salander (the tattooed private investigator of the title) as a feminist avenging angel. Others criticised Larsson’s graphic descriptions of the abuse and mutilation of women, judging the whole effort “misogynist”.Read More:Read More:http://www.guardian.co.uk/books/booksblog/2010/mar/15/girl-with-the-dragon-tattoo
…Donald Kuspit:Duchamp’s nude makes an abstract spectacle of herself, suggesting that she symbolizes the unrealistic society of the modern spectacle. Duchamp realized that art had to become part of and serve the society of the spectacle if it was to survive in modernity. From the Nude Descending the Staircase through the Bride Stripped Bare by the Bachelors, Even to the raped and murdered nude in the Étants Donnés, Duchamp turned the nude, and with her art, into a spectacle, maliciously dissecting and debunking the beauty she symbolized and embodied in traditional art. The graces and the muses were all female, and the misogynist Duchamp de-idealized their bodies, stripping them of their aura of sacredness. He was an abusive Paris who relegated the three goddesses to the dustbin of mythology. Duchamp endorsed photographic reproduction because it de-idealized reality, stripping it of the spiritual import that made it more than a mere appearance. Ironically converted into an appearance by photography, reality could no longer symbolize human ideals, and as such became a valueless illusion — a spectacle. Duchamp is the emblematic master of the disillusionment with art that is the dirty secret of avant-garde art, a disillusionment for which mechanical reproduction is in no small part responsible. Read More:http://www.artnet.com/magazineus/features/kuspit/art-and-capitalist-spectacle2-8-11.asp