Skip to main content

the killer inside of you

As I wrote in April, to complain that "The Killer Inside Me" is full of misogynistic violence is a little like reading "Moby-Dick" and objecting to all the stuff about whaling. Violence against women is Thompson's text and theme and central metaphor -- and in case I haven't made this clear, anyone who might find the violence in this movie gratifying or arousing is already virtually beyond the bounds of professional help.

[. . .]

Within the first few minutes of the film, Lou is sent to run Joyce out of town and she responds by slapping and slugging him. She's bored and lonely and sick of sleeping with ugly guys for money; she's looking for a reaction, and she gets one: On the verge of walking out, Lou comes back and tackles her, pulling down her panties and whipping her bare ass with his belt. The sequence is both erotic and violent, profoundly troubling and potentially arousing, designed to provoke a whiplash of emotional, psychological and libidinal responses. It sets the table for what follows: an exploration of the dividing line between sex and death that's at least as morbid and philosophical as anything in modernist European literature. (Andrew O’hehir, “‘The Killer Inside Me:’ Much ado about misogyny,” Salon, 17 June 2010)

Arousal

Re: “On the verge of walking out, Lou comes back and tackles her, pulling down her panties and whipping her bare ass with his belt. The sequence is both erotic and violent, profoundly troubling and potentially arousing, designed to provoke a whiplash of emotional, psychological and libidinal responses.”

Are you saying here that YOU found this panties-being-pulled-down, this bare-ass whipping erotic, that you are to be counted amongst the "potentials" who were aroused while watching it? Or that it JUST IS erotic and violent, smartly rigged to potentially or even likely trigger libidinal responses, ostensibly possessed by all of us?

If YOU found the scene erotic, I wish you had just said as much, and made clear whether or not you were also aroused by it -- and if not, how you were able to sense that others would find it so -- and either defended the remarkable possibility that you can be fundamentally woman-loving and experience eroticism and arousal in a scene of this nature, or brought forward the possibility that the fact that you did enjoy a scene you suspect you shouldn't have enjoyed, means you're not quite in fact so distinguished from the clearly mongrel, beyond-the-pale male who relishes this kind of violence.

- - - - -

Killer inside of you

Personally, I think it unlikely that many men don't get a hard-on while watching explicit scenes of female victimization, not because they all regrettably still are in the possession of reptilian brian-stems that make they forever capable of lapsing brute animalistic, but because most were raised by mothers who were severely emotionally / intellectually deprived in the patriarchal societies / families they grew up in, and therefore spent their earliest part of their lives foremost serving their mothers' unmet needs rather than their own. Deprived mothers aren't magically capable of producing nurturance; nurturance only comes from the well-cared-for, the respected, the loved. So most men find ways -- are driven to find ways -- to enact revenge for their being used, but also to pretend that this isn't what they are up to, as they also learned early on that the one thing you don't do -- at the threat of abandonment, of experiencing catastrophic aloneness, destitution -- is to convey that you are on to the fact that mothers weren't entirely self-sacrificial and marvelous in their motives (their version, the only version), that they wanted to squeeze every bit of attendance out of you before they abandoned you once aging, teenagerdom, turned you on to other things. Patriarchy hurts mothers; hurt mothers hurt their kids: any other version is a lie "good boys and girls" have learned to, have been scared into, tell (ing).

Link: "The Killer Inside Me": Much ado about misogyny (Salon)

Comments

Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …