自卫的艺术

God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it? -- Nietzsche, The Gay ScienceThe film starts with our martyr whose name is Casey. Casey has been carpentering for a company diligently for 10 long years as a sensible accountant. But since he is in a surrealistic film, his coworkers deny him of everything. He is biologically alive but devoid of being-in-this-world. Even the narrator bullies him by expose to us his most private moment of musterbation. He is a slave, living in the antithesis, the denial of his own being-aliveness. Unable to act for himself, voluntarily disavowing all of his own liveliness. He lives his life as if his alivneess itself is a sin and a torment. And which is possibly due to an ancestor or his being tricked to bite a fruit. He was crucified by four gangsters from Motorbike Ville. Life instinct kicks in. Resurrected on a hospital bed. He is reincarnated with the superpower of affirmation. Immediately he affirms his own life. He wants to be alive. He wants to protect himself. He doesn’t know how. The teller told him a hand-gun will do. Yes. The ultimate phallic signifier. Affirming is, however, not easy. He bumped into a contender of his will of “to own a handgun” — it was the rule number 11 of the Karate Academy — “Guns are for the weak.” He acted like an orange peremptory bady. He stopped affirming his own life and began to affirm the reactive thought of “I am not weak.” He found himself a new passion. Yes, the Karate Academy will save him. His protagonist sized life instinct propels him forward. After only two months of training, as a yellow belt, he defeated his brown-belt classmate. He is now ceremonially a real karate man. But an antithesis can not exist by itself. It logically presupposes a thesis. And in our case the thesis is “Karate is for the strong” and it in turn presupposes the Karate Academy’s(the slogan giver’s) existence. His yellow belt is an amulet signifying the Academy. It empowers him. He can not affirm himself without it. He needs the academic affirmation to be a phallic-owning real man.The Academy reels in, all of this is but the Sensei’s trap. The Sensei now demands our protagonist to serve him. Whatever Casey feels, whatever he wills, the Sensei overpowers him. He is again being bullied. Only this time with blood dripping down from his hand. He ceases to be a man, he is a tool willed by Sensei. He eventually ceases to be a human. The cost to be a real karate man is to give up his own life. The acute memory of the Motorbike Ville woke him up. He wills again to be alive. He has learned his lesson. Using a pistol he killed the Sensei, took over the myth of the “index finger technique” which is the local phallic signifier in the academy and became the crowned king of a new dynasty. The film ends here, and Nietzsche can only guide this far. There is no guarantee of a happily ever after. It's up to Casey to decide what to do next, and we have all seen how easy it was to fall into a trap. Our society is a web of traps weaved by those powerful but insecure people. “只能說當超人真的好難” said Jay. Epilogue: Nietzsche the Nihilist. Nihilist, noun, “a person who believes that life is meaningless and rejects all religious and moral principles.” This can not be any further from the truth. The “nihilism” of Nietzsche is a two-fold formation. At its very core it a radical affirmation of one’s own life, of one’s own vitality, and of one’s own will to create personal values and to live by those values. It is in comparison to this stronger inner will to live that the outside laws seem afloat, hence can be rejected. This film is an excellent demonstration of the destructive potential of letting a social construct to take prior position over one’s own existence(Crusade, Fascism, Isis, to name a few in real life). And because of this rejection of all outside influences, this rejection of all fundamental law that can be used to judge one’s life, one’s life is then reciprocally said to be “meaningless.” The phrase “God is dead” should be followed by “long live the gods within.”

先说一句，极致效率的嘴炮杰西演娘炮居然也毫无违和感。

买狗粮被暴徒袭击后，杰西苦苦思索自卫的方法。

最开始的想法很直接，买把枪，他提了申请，但在无意进入空手道道场后，教练宣扬的“弱者才用枪”这种略带江湖血性的形式主义信条也让性格懦弱的他深以为然，他想真正克服恐惧，强大起来。

但杰西想要变强大的成长历程有点曲折：尽管代表空手道等级的带色提供了很好的心理暗示，可在道场上是黄带有什么用？

还不是被停车场的彪悍大叔狂虐。

他需要一种更强力、更广泛的心理暗示——从一直把黄腰带系在身上，背黄色的包，超市里买所有黄色包装的产品，听重金属风音乐，到居然定制黄色的裤腰带，不得不说他好像真的明白自己需要的是什么。

从白色到黄色到夜场的黑色，带色的晋级是个比较有意思的线索。

杰西仿佛天赋异禀般的获得了快速的破格提升，然而这仅仅是教练操纵他，不，应该是他们的手段罢了。

尽管仿佛显而易见，但是在大师纪念日被授予黑带和后来上吊自杀的那位仁兄，却在段位的晋升上十分上心，也许他们比杰西更需要用不同颜色的腰带来证明自己的实力。

可以说那位女学员是唯一知道自己实力和在此可笑的等级制度之下所处位置的人，也知道杰西面对的是什么，她劝杰西离开这里。

应该说杰西真正变强大是在他们被教练利用去消灭一个警察，然后在警察枪下救下女学员开始的。

格斗术上，他确实变厉害了，但他并没有遵从最原始的规则，而选择在决斗中果断的一枪毙了教练，才真正显出一个人在挣脱心理、等级和原则桎梏之后的可怕潜能。

那么何谓自卫艺术呢？

应该说电影里面的每个人都在用自己的方式自卫：包括杰西在内的男性学员，一开始都是想通过带色等级让自己看上去，或者心理上觉得自己厉害（尽管实力也许并非如此）；女学员尽力遵守等级制度、搞清楚自己的位置来保全自己，虽然最后不得不做出疯狂的反抗；至于教练，用虚幻的荣誉操纵，甚至武力胁迫学员，未尝不是某种自卫的手段。

自卫的方式有很多，但绝不能局限于“暴力就是力量，同情等于软弱”和“弱者才用枪”这样的观点，凶狠的宽容和平静的残忍都是有可能的。

你永远不知道攻击自己的会是什么，就像大师能用一指禅敲碎人的头骨，最后却被当做一只鸟无辜的死于猎人的散弹枪下，至于那位黑带男学员，能想到自己最后活生生被一只狗咬死吗？

最后的画面定格在墙上，杰西死去的狗的照片挂在大师遗像的旁边，所以接下来，还需要bow to the master吗？

介绍一部黑色幽默，有兴趣的可以看一看，乐一乐。

美国电影《自卫的艺术》作品类型：喜剧主要演员：Jesse Eisenberg故事概述：弱鸡男“蜕变实录”（一条狗引出的“黑色蜕变”）上映时间：2019年7月19日在美国上映

作品提名一览：

进入简评，浅尝辄止随意聊。

1，故事线索a，男主与狗（前后两段，泾渭分明）Casey+腊肠狗=“小受”体质Casey+德牧=“小攻”本质在腊肠狗挂了之前，Casey一直处于“受”的状态，即：逆来顺受。

比如：坐在咖啡厅，被人嘲笑；出门买狗粮，被人袭击；学习空手道，被人看轻。

不过在“腊肠”被杀之后（领养了德牧），Casey逆袭了，“小受”体质荡然无存，“小攻”本色异军突起。

b，karate（空手道）之道其一，晋级之道---正常路线，空手道段位的晋级。

这条线索，纯粹鸡肋，毕竟不是教学电影。

其二，逆袭之道---斩首示众（Casey直接将Sensei干掉），Anna继位（Casey颁赐）。

这才是本剧核心---自我防卫艺术，怎讲？

i，外柔内刚ii，外表温良、内在生猛iii，以谋略取胜，智取，不是硬刚

c，癫狂之道首先，空手道社团的癫狂---在黑夜中，化身为暴徒，袭击手无寸铁的平民。

其次，Casey的癫狂---了解了内幕（Sensei及空手道学员就是袭击他的那些人）之后，C不再忍让，决议报仇。

最后，故事走向的癫狂。

从“平心静气”开始，至“血腥杀戮”收场，前后对比，截然不同，剧情在癫狂中窥探人性的本质。

2，故事亮点a，中文片名亮了---一语双关（自我防卫+自我解决）

b，空手道教练的名字亮了---Sensei，这哪是什么英语？

日语，明摆着“老师”的意思，骗谁呢？

c，狗狗亮了---腊肠+德牧，德系犬只独领风骚。

d，裸男亮了---训练后一丝不挂的猛男进行放松运动，简直亮瞎狗眼。

e，结局亮了---刷枪弄刀的教练被Casey一枪击毙，另一个袭击C的学员被德牧所杀。

3，故事影射寓意1，腰带预表“等级”---社会等级、职场等级、人际等级

2，女学员Anna狂扁男学员Thomas，暗示“性别歧视”不得人心（男尊女卑）。

3，Casey射杀Sensei，两层含义。

a，在最公平的舞台上，以最狡猾的方式取得胜利，讽刺了当今社会、职场上那些“不择手段”攀登高峰的人们。

b，花拳绣腿敌不过真枪实弹，赢得世界不是靠嘴吹嘘，而是依仗军事实力。

4，Anna继位Sensei（当然是Casey让贤），两层隐意。

a，能者上，实至名归。

b，平权，男女平等。

5，手枪的寓意---男性、权利、征服。

终。

编剧★★★★☆（将寓意揉捏于对白、剧情中，简简单单说教，轻轻松松看懂）导演★★★★☆（自编自导，叙事节奏、笑料铺垫、人物设计，可圈可点）演员★★★★☆（Jesse拉高了所有演员的均值）剧情★★★★☆（平淡的开场，激情的收尾，中间冷笑话串场）视效★★★☆☆（镜头语言不如配乐高能，高低立见）音效★★★★★（高能）推荐度★★★★☆（越看越入迷的黑色幽默）

Casey刚开头就有种黑色幽默的感觉 杰西的肢体语言 偏暗的色调 低音弦乐器的节奏感 让人感觉莫名好笑 杰西怎么又是这种宅男 不得不说真的很适合他 这种角色 气质太搭了 跟狗狗抱歉“i am sorry 我不知道狗粮吃完了”天呐我太喜欢他了 好惨啊36岁 只有个小狗 还那么惨 音乐真的有意思 被一群摩托车追跑的那个镜头 人物居中 侧打 有一种戏剧化的感觉 越来跑的越快 想到了布达佩斯大饭店 杰西太适合社恐男了换衣服那简直就像是两个空间 俩人在打架 Casey在一旁格格不入 吗的 想到我练跆拳道的愚蠢样子了 这钢琴曲 配合练习片段 重复蒙太奇 然后放大这感觉太好笑 有一种美感的暴力 还有一点可笑拿到黄带窃喜那个表情演的太好笑了看到杰西哭那我哈哈大笑 这个电影完全踩中了我的笑点太惨了哈哈哈哈哈哈哈对男权讽刺的味儿太强了哈哈哈哈哈哈为什么要把蓝带的胳膊拧掉 后来整金属乐配合练习片段 到后半段就有点奇怪 有点黑色和暴力 角色转变的挺戏剧化的论如何把一社恐人改造成恐怖分子最后的转变太喜欢了 反男权到一定地步了这个电影可以进入年度最爱 杰西 还是你牛

看这片子时的心情，像尿等待，不爽。

挑了部片子，然后窝进沙发，卷毛开枪时，不，卷毛把🔫拿出来那一刻就高潮了，我什么都无所谓，只要最后一刻，卷毛可以弄死凉鞋男就行，而且要坦然、淡然的弄死他，如同丢个烟头、撇一下嘴，我的得到了想要的情节，于是就，爽。

我总觉得凉鞋男对卷毛有性暗示，这样，对吗？

卷毛杀他，是因为恨他做的那点破事，我想让他死，是因为，那凉鞋实在太特么丑了！！！

“暴力不是力量，同情不是软弱”这是电影《自卫的艺术》里一句话。

凯西被暴力所伤害，想要寻求自我保护，学习空手道，因为他想成为他害怕的那些人，想不到空手道的会馆正是伤害他的那些人。

想成为他害怕的那些人，在心理学上又叫做向攻击者认同。

让自己成为那个攻击者，感受到力量，让对方感受到自己被攻击时的恐惧和脆弱。

这很常见，比如学校的霸凌，很多孩子就是向暴力的父母或其他成年人认同，让自己成为他们害怕的那些人。

还有很多在社会上使用暴力的人，包括网络暴力，都曾经是暴力的受害者。

因为内心的恐惧和脆弱并没有被接纳，向攻击者认同只是把自己包裹进了一个凶狠的外壳，用力掩饰内心那个脆弱的自己。

Sophomoric feature film of US director/writer Riley Stearns, himself in real life is a practitioner and instructor of Brazilian Jiu-Jitsu, and THE ART OF SELF-DEFENSE gets the jumping-off point right there. Eisenberg is in his usual saddo form as the lonesome Casey, a 35-year-old accountant has no one but a pet dachshund for company. After being savagely mugged one night by a motorcycle gang, he balks at going out at night, and tries to buy a firearm for self protection but ends up in a dojo where karate is instructed by the upright Sensei (Nivola). Beginning as a tabula rasa white-belt, Casey apparently makes goodly progress and soon earns his yellow-belt and gets an invitation to the night class, where the training becomes more combative, he witness Anna (Poots) mercilessly beats up fellow student Thomas (Terada) after losing a promotion to black-belt to him, and another student Henry (Zellner) has his arm viciously broken for attending the class unheralded, a sinister vibe of hierarchy and sexism rightly supersedes the hitherto more lighthearted tone, to say nothing of the wanton violence on show. Motivated by Sensei, Casey successfully morphs from a beta male to an alpha one (even if it costs him his job), or he eagerly pretends to be. After socking an innocent lush under the insistent instruction of Sensei, he begins to have doubts (why Sensei keeps filming him with his camcorder for his assault?), and in the wake of his pet’s premature death (dachshund is deemed not masculine enough for a man), an action betrays the evil-doer’s rashness and inopportuneness, and an accident of barbaric battery that he literally clocks a plainclothes policeman to death, Casey needs to burrow into the 411 (including the belated revelation that Sensei and his co. are actually his attackers) and face a final showdown with Sensei. Only this time, he will not play by the honor-bound rules, the brainwashing needs to be put paid to, once and for all. Bracingly, the story mines into the touch-paper issue of toxic masculinity, a ubiquitous stigma breeding on the male sex and should be answerable for a big chunk of the scourge that plays havoc among human species, but Stearns’ troubling standing on the gun control (it is such an ill-conceived decision for the clincher occurs like that in the movie), that obfuscates itself with the “guns are for the weak” message and the rising-of-an-underdog trope, takes some shine off its offbeat, effervescent veneer, and when Casey finally vouchsafes a new leadership to the sole member of the weaker sex, it is too condescending an ending to stomach, however good Stearns’ intention is, yet, that ill feeling is thankfully alleviated by Poots’ steely resolution and undimmed asperity, only if the film could allocate more room to dwell on Anna’s story, that’s why we need female filmmakers now more than ever. Shot in an overtly frugal budget with subdued lighting, mostly interior, THE ART OF SELF-DEFENSE’s most prudent movie is to assign a charismatic Nivola the role of Sensei, the amiable mentor figure who can simultaneously telegraph earnestness and dispassionateness in the same breath, despite of Sensei’s blinkered bigotry, we cannot blame Casey for knuckle under his mental indoctrination because Nivola makes him impossible to resist, even after we are fully convinced that he is the bane of any sane being’s life, on the off chance, we still wish he might have some justification up in his sleeves. Slowly evolving into one of the most versatile actors of his generation, Nivola has his brilliance seep into Sensei’s every ruthless action, manipulative ploy and assertive delivery, could he be a cult leader, devotees would be come running.In toto, the film is a black comedy welded with a frivolous brutality that might be queasy for some to watch, but underneath everything, it is a magical realism allegory about the prototype of dichotomic masculinity, gives the lie to its poisonous core but runs away with a quirky conceitedness that needs some modulation. referential entries: David Zellner’s KUMIKO, THE TREASURE HUNTER (2014, 6.8/10); Richard Ayoade’s THE DOUBLE (2013, 6.1/10).

剧中那个sensi尝试用阳刚之气来作为男人的象征，而这“阳刚”却是他杀过的人，威胁的来的钱，把cassy打成重伤得来的牛排礼品卡。

这就是他口中男人应有的阳刚之气，甚至觉得道场是男人的领域，女主不配得到黑带。

而在电影中可以看到女主并不比他们其他人差，反而甚至更强。

在他认为暴力即是力量的道场上，女主固然得不到黑带，待到剧中结尾将sensi那股黑力量打败之后，道场也随之变了，同情不再是软弱，暴力不再是力量，女主也得到了应得的黑带。

说实话，电影中的各个人物都是借代了我们现实生活中的观点与看法。

比如sensi的形象是大部分男人眼中的力量，但它只不过是野蛮，暴力，毫无同情心，没道德观念罢了。

而女主，与其说是女权，打破对男性对力量的误解和女性对软弱的刻板影响才是更合适的说法。

而男主cassy，似乎名字与生活都符合“典型的女性特征”，让人有一种不像“男人”的感觉，但事实真的如此吗？

养了只腊肠犬，听着成人类型音乐，却被sensi说不该如此，而是要听重金属，养牧羊犬。

（男人应该把狼当做宠物）难道做这些就不是男人了吗？

哪里来的歪道理，照怎么说，男的上课之前还要撒泡尿标记领地咯，这样可是太man了呢！

而cassy作为这个特殊的男人，最后用枪杀死了sensi，这也说明拿枪可以证明我是弱者，可正是我是弱者，所以我才拿枪，这才会让我变得强大起来。

杀了sensi后，一切规则变动，同情不再是软弱，暴力不再是力量，女主带上了自己的黑带，不需要再变得软弱，符合“男人”的规则，而是创造了一个更加合理的空手道规则。

否认“男人”力量，肯定了女性的力量。

本来只想写个短评，但写着写着发现电影能表达的短评好像盖不下。。。

首先核心的自然是杰西的一指禅了，这一下忽然就回忆起夺宝奇兵里的经典GIF

夺宝奇兵爆头完再对尸体BB真是个好习惯，多少反派死于话多。

本来影评应该就到这里了，但是另外一想，师傅其实也是死在自己由始至终准守的规矩上，其实在杰西跟他爆料的时候就可以直接秒杀，但是还是在道场进行对战，虽然一部分也是轻敌，但更多的是相信杰西跟他提出对战的规矩，包括之前在道场，蓝带上夜班断手，都是对于自己规矩的维护。

这里又提到了规矩，其实这里的道场就像一个小江湖，每个学生都有自己的站位，段位低的就要站在段位高的右侧，在杀狗男得到黑带的时候，红带的女主就要自然换位。

包括十一条道场规矩，都是在维护这一个小江湖。

一个有等级的江湖。

然而规矩却不一定是对的，这个道场的规矩都是师傅及大师对于强者的理解及自己认为对的事情，然后再把这些规则放上道理灌输给学生，用枪是弱者的表现，男人就要听重金属，女人不能拿黑带，所以把对的事情与片面的事情联系起来，就会给人一种这样做没错的感觉。

就像即使学员看到师傅被杀，但是死于一指禅，就依然会准守规矩。

既然有了规矩，就需要能在规矩之内发泄的出口，否则准守规矩又有什么意义，晚上组队出去施暴就是这样一种方式，既能发泄，又能得到认可，腰带上的红圈正是一种区别的特权。

其实这里就跟搏击俱乐部有一点相像了，都是在规则内充斥着荷尔蒙的暴力，而又认可这种暴力。

自卫的艺术

搏击俱乐部其实这样看来这里的规矩何尝不是一种正确宣泄暴力的出口，段位来标定阶级。

一开始被标题吸引过来是因为我是一个格斗票友，后来压抑而有点超现实的剧情让我恍惚想起了10年间习武的种种经历，有一点特别的代入感。

最后结局的:大人，时代变了，嗙！

有一种奇特的爽点。

尤其在经历了很多打斗以后，对格斗技术这种工具已经脱离了过度神话的氛围。

知道了他的适用边际。

事实上武馆成规模后会勾连更多的灰色产业。

不会那么寥寥数人。