Jumat, 30 Mei 2014

Božanstveni keksići s komadićima čokolade i kokosom! Vaš PMS bit će vam zahvalan!


Sastojci

250 grama maslaca
1 šalica smeđeg šećera
½ šalica bijelog šećera
2 vrećice vanilin šećera
2 jaja
1 žličica sode bikarbone
¼ žličica soli
1 šalica sjeckane čokolade za kuhanje
2 šalice sitnijeg kokosa
1šalica zobenih pahuljica
2 šalice brašna
1 žlica mlijeka


Zagrijemo pećnicu na na 180 stupnjeva i pripremimo dva pleha koje obložimo papirom za pečenje. Prvo umijesimo maslac sa svim šećerima, zatim dodamo jaja i mlijeko i mutimo nekoliko sekundi. Pomiješamo brašno, sol i sodu bikarbonu i tu smjesu dodamo maslacu i jajima. Dodamo i ostale sastojke i malo radimo mikserom pa onda rukom izradimo smjesu. Čajnom žličicom vadimo grudice i redamo ih na pleh odmaknute jedna od druge za njihovu veličinu. Pečemo oko 15 minuta.

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chocolate chip coconut cookies 



Ingredients

250 grams butter
1 cup brown sugar
½ cup white sugar
2 bags vanilla sugar
2 eggs
1 teaspoon baking soda
¼ teaspoon salt
1 cup chopped dark chocolate
2 cups coconut powder
1cup cereals
2 cups flour
1 tablespoon milk


Heat the oven to 180 degrees and prepare two baking trays covered with parchment paper. First knead butter with all the sugars, then add eggs and milk and beat it all for a few seconds. Mix flour, salt and baking soda and then add the mixture to butter and eggs. Add other ingredients and mix them with a hand mixer and then knead the dough with hands. Using a teaspoon extract little lumps and put them on a baking tray spaced from one another by their size. Bake for about 15 minutes.


Mizoginija u opusu Larsa von Triera 3 - Nimfomanka



Kritika je film nazvala avangardnim, ekscentričnim,  fascinantnim, interaktivnim, religioznim te nikako nesofisticiranim i dosadnim. Kako je novinarka Batya Ungar-Sargon u svom članku "Sometimes a Misogynist is Just a Misogynist" za Tablet Magazine rekla: " Moram priznati da mi je cijela ta hvala potpuna misterija. Kako je film koji koristi genitalije porno glumaca i glave filmskih glumaca na bilo koji način avangardan? Nije li upravo ovo dihtomija na kojoj se bazira čitavo naše društvo- sex work je sramotan i stoga nedostojan prednosti i pohvala, dok filmska gluma nije sex work nego art? Gospodin von Trier je doslovno obnovio ovu kršćansku dihtomiju na samim tijelima svojih glumaca. I to bi trebalo biti provokativno?"  Ungar-Sargon ističe kako je film samo lažno provokativan. U biti on je retrogradan. Upravo je suprotan od onog što bi trebao biti!



Charlotte Gainsbourg kao starija Joe i Stacy Martin kao mlađa Joe, glume samoprozvanu nimfomanku koja sva izubijana biva pronađenom u mračnoj uličici od strane 60- godišnjeg Jewa Seligmana kojeg glumi Stelan Skarsgard. Seligman spašava Joe i odvodi je u svoj stan gdje je posprema u krevet, dajući joj okrepu u obliku šalice čaja i razgovora tijekom kojeg mu Joe ispriča cijelu svoju životnu priču. Dotični je samoprozvani djevac te kao takav posve bezopasan i potpuno objektivan da sasluša u najmanju ruku vidno uznemirenu Joe. Već u samom startu jasno nam je da nešto nije u redu s ovom naizgled bezopasnom situacijom jer je čitav film, odnosno oba njegova dijela, prožet nelagodnom notom. I opet uzorak se ponavlja: On je taj koji je racionalan i objektivan, koji sluša, umiruje i objašnjava, Ona je ta koja je depresivna, neurotična, neprilagođena. Nelagoda se razriješava scenom na kraju drugog dijela filma i konačno završetkom cijele priče, kada Seligman pokušava silovati Joe uz riječi: "Pa bila si s toliko muškaraca!" u smislu: "Pa s toliko njih si se jebala, zašto ne bi i sa mnom!" Scena u kojoj je on nakon što mu ova ispriča svoju traumatičnu životnu priču, čitavo vrijeme okrivljujući sebe za sve što se dogodilo, tješeći pospremi u krevet i ugasi svijetlo, da bi se za koju minutu vratio polugol nastojeći penetrirati u nju koja je već zaspala, uz već spomenute riječi, "divno" opisuje stav koji naše društvo ima spram silovanja: Ako žena voli seks i uvelike ga prakticira, zaslužuje biti silovana! Rečenica: "Pa bila si s toliko muškaraca!", pritom je samo jedna od mnogih s prikrivenim mizoginičnim značenjem. Baš poput one koju Joe uporno ponavlja tijekom oba dijela: "Ispuni mi sve rupe!", što je zapravo prikrivena aluzija na poziv za silovanjem jer u našem je društvu također uvriježeno mišljenje da je žena ta koja poziva na silovanje, odnosno provocira ga.  



Film je ispunjen i ostalim mističnim mizoginičnim bullshitom kao što je primjerice scena u kojoj Joe opisuje nadnaravno iskustvo koje je doživjela kao mala djevojčica, a koji opisuje kao spontani orgazam. Možda će vas iznenaditi, ali ne postoji nešto što se zove spontani /mistični/ orgazam jer orgazam bez stimulacije NE POSTOJI. Dapače, ženski orgazam je proces i činjenica jest da isti zahtijeva ne samo simulaciju, nego i neki oblik svjesnijeg truda, koliko god nam pornići pričali bajke o brzom klimaksu i svodili seks samo na brzu penetraciju i orgazam koji se događa u sekundi. Zbog istog ovog stava, žene teško dosežu vrhunac i osjećaju krivnju jer je za njihov orgazam potrebno ipak nešto više vremena i truda, nego što je to potrebno muškarcu. Jer on želi da svršiš, ali mu se često baš i ne da potruditi oko toga. Jer on želi da ti voliš seks, ali ne želi da imaš neke komplicirane dijelove koje on  ne razumije.



Od problematičnijih rečenica u filmu izdvojila bih još neke:

"Ja sam samo užasno ljudsko biće!" Zašto se u svakako von Trierovom filmu žena osjeća kao užasno biće?

"Moja majka je bila hladna kučka!" Ne progovara li to sam von Trier kroz ovu rečenicu?

Iii svakako jedna od "dražih" mi: "Ako bih te zamolila da mi oduzmeš djevičanstvo bi li to bio problem?" Pritom to iskustvo završava kao i vaginalno i analno silovanje, u stilu:  Hoćeš kurca? E sad ćeš ga dobiti! Taj isti koji je Joe oduzeo djevičanstvo, u filmu se pojavljuje svaki put opet iznova i to kao njena jedina prava ljubav, jedini seks koji je za nju bio više od seksa. Čisto sumnjam da djevojčice maštaju o svom prvom putu kao činu silovanja, kao i da će rijetko koja reći da joj je ljubav života onaj koji ju je silovao.  


"Nimfomanka" je film nastao po uzoru na erotske dnevnike iz 18. stoljeća. Radi se o žanru koji je bio pun muškaraca literarno zamaskiranih u žene, kako bi međusobno drkali na iste pogrešne percepcije ženske anatomije koje von Trier prikazuje. Kako već spomenuta novinarka Batya Ungar-Sargon tvrdi, 90% filma je zaista direktno prepisano iz djela pod nazivom Fanny Hill, Memoari žene od užitka  Johna Clelanda ( Fanny Hill,  Memoirs of a Woman of Pleasure (1749) ), od slova koji predstavljaju imena muškaraca koje je Joe osvojila i slova koje predstavlja onog jednog jedinog, njene prave ljubavi koja se konstantno pojavljuje u filmu do sadomazo scena. Čini se da nismo daleko došli od 1974. i dana kada su muškarci drkali na ideju žene koja drka na ono na što muškarci drkaju. Jesam li dobro prevela? Rečenica ide ovako točno: Yes, 1749. We’ve come a long way since the days when men got off on the idea of women getting off on them getting off, in the sense of not having come any way at all. Neki će možda reći da je von Trier svjestan svega ovog i da je "Nimfomanka" zapravo parodija na muške seksualne fantazije i kulturu koja ih opredmećuje, iako ja ne vidim što je tu smiješno. Neki će, budući da film zaista i vrvi religioznim elementima,  reći da je Joe orgazmički Isus koji traži transcendenciju, dok je djevičanski Seligman tu da je nauči kako su interpretacija i zakon, a ne potraga za duhom, pravi put ka prosvjetljenju. No, predstaviti Joe-in apetit za seksom, koji je jasno objašnjen kao pokušaj da se ublaži bol i povrati samopoštovanje ( revolucionarno jelda! :) ), kao potragu za transcendencijom je kao prihvati uvjete filma koji nalažu da je pokušaj žene da zadovolji muškarca, jedini način prosvjetljenja, jedini način na koji žena može biti prosvjetljena. Ne govori li nam isto pop kultura, protiv koje se ovakvi- avangardni, provokativni, ekscentrični filmovi zapravo bore? Isto tako angažirati muškarca da glumi lik koji objašnjava žensko seksualno iskutsvo je u najmanju ruku smiješno, ali jebiga da je u nekom slušaju on žena, film bi bio prefeministički! A svima je pun kurac feministica koje tu traže neka svoja prava!



Voljela bih imati razumijevanja za von Trierov stil, ali činjenica jest da njegova provokativnost često odlazi u bizarno, gnjusno i nasilno, nasilno po ženu prije svega! I uvijek ću biti pobornica provokativnog, šoka i pomicanja granica, ne šoka radi, nego zato što nas šok tjera da progledamo, da promislimo, da se pomaknemo iz udobnosti svoje kože. On je u konačnici sam rekao da dobar film mora biti kao kamenčić u cipeli. Čak se i slažem s njim u smislu da perverzija, podsvijest i seksualnost jesu povezani i mogu nam mnogo reći o čovjeku i društvu, ali zar prikaz istog zaista mora biti toliko degutantan? Također, zar su neke scene u njegovim filmovima zaista potrebne ili on samo uživa u njima? Ovom nonšalantnom nacistu sve je pak vječito vrlo smiješno, a mi žene smo nadrkane feministice koje pizde zbog svake gluposti! Oprostit ćete mi, ali njegovi ženski likovi ne stvaraju mi ugodu, ne kao feministkinji nego kao čovjeku. Jer naprosto ne razumijem poruku njegovih filmova. Jedina poruka koju "Nimfomanka" prenosi je da je u redu da se žena jebe kao muškarac, ali to je otprilike jedina pozitivna poruka. A i ta je navučena. Ona više ide u smjeru: Žene se ful seksaju i to je ok, ali to je u biti samo zato jer su u svojoj prirodi neurotične drolje. Sve ostalo u filmu svodi se na mizoginistički poziv na silovanje. Što točno von Trier ima pozitivno za reći na temu ženske seksualnosti, a i racionalnosti? Štoviše, toliko smo se navikli na njegov stil i sve takve slične filmove da uopće ne shvaćamo da s njima nešto nije u redu!!!! Njegovi filmovi nisu posvećeni ženi, nego muškim fantazijama, fantazijama koje taj rod posjeduje o ženskom seksu. Umjetnost ne smije stvarati konfuziju oko ženske anatomije i seksualne želje! Umjetnost ne smije biti degutantna! Ona svojim šok -učinkom treba tjerati na promišljanje, ali nikad, nikad nema,   pravo biti nasilna i degutantna! Zašto ne tražimo više od umjetnosti? I opet, glavna glumica, štoviše redateljeva muza Charlotte Gainsbourg ne kuži kurca. U intervjuima ona ne ističe ništa loše u vezi von Trierovog stvaralaštva, iako bi kao kćer Jane Birkin, politički i socijalno osviještene žene,  trebala znati bolje. To da glavna glumica ne razumije što je loše u cijeloj priči nije opravdanje, nego dokaz koliko su mizoginisticki stavovi u našem društvu duboko ukorijenjeni, toliko ukorijenjeni da neke žene zaista misle da je ovakvo stvaralaštvo prihvatljivo. I konačno, ne trebamo biti izučeni psiholozi i psihijatri da bi se upitali kakav to bolestan odnos von Trier ima sa svojom majkom koju u intervjuima naziva kurvom. Nije li njegovo stvaralaštvo zapravo osveta?

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Misogyny in opus of Lars von Trier part 3- Nymfomaniac



Criticis called the movie avant-garde, eccentric, fascinating, interactive, religious and certainly not unsophisticated or boring. As journalist Batya Ungar-Sargon said in her article "Sometimes a Misogynist is Just a Misogynist" for the Tablet Magazine: " I have to admit that I am mystified by this praise. How is a film that uses porn stars’ genitalia and movie stars’ heads in any way avant garde? Isn’t this precisely the dichotomy on which our entire society is horrifically based—that sex work is shameful and therefore unworthy of benefits and acclaim, while movie acting is not sex work but art? Mr. von Trier has literally reiterated this deeply Christian dichotomy on the bodies of his actors. And this is supposed to be provocative? "Ungar-Sargon says that the movie is just being falsely provocative. In its essence it is retrograde. It is the opposite of what it should be!


Charlotte Gainsbourg as the older Joe and Stacy Martin as the young Joe, take the role of a self-proclaimed nymphomaniac who is all bruised  found in a dark alley by a 60 year old Jew Seligman played by Stelan Skarsgard. Seligman saves Joe and takes her to his apartment where he puts her to bed, giving her a refreshment in the form of a cup of tea and conversation during which Joe tells him her entire life story. He is a self-proclaimed virgin and as such completely harmless and completely objective to listen to the visibly upset Joe. Already at the start it is clear that there is something wrong with this seemingly harmless situation because the whole movie,  both of its parts, are infused with an uneasy note. Again, the pattern repeats itself: "He is the one who is rational and objective, who listens, soothes and explains, She is the one who is depressed, neurotic, maladjusted. The discomfort culminates at the end of second part of the movie and the ending of the story, when Seligman tries to rape Joe with the words : "But you’ve been with so many men" in the sense "But you fucked with so many men, why wouldn't you fuck with me too?!" The scene where he, after she told him her traumatic life story, all the time blaming herself for everything that happened, comfortingly puts her in bed and turns off the light, to come back a few minutes half naked trying to penetrate her, who is already asleep, with the above-mentioned words, "wonderfully" describes an attitude that our society has toward rape: If a woman loves sex and largely practices it, she deserves to be raped! The sentence : "But you’ve been with so many men! " is one of many with hidden mysogynistic meaning. Just like the one Joe persistently repeats during both parts: "Fill all my holes" which is actually a veiled allusion for a call for rape because in our society it is a common misconception that a woman is the one who calls for the rape or provokes it.


The film is filled with other mystical misogynist bullshit such as the scene which Joe describes as a supernatural experience that she experienced as a little girl, which she describes as a spontaneous orgasm. It may surprise you, but there isn't a thing called spontaneous / mystical / orgasm because orgasm without stimulating DOESN'T EXIST. Indeed, the female orgasm is a process, and the fact is that it requires not only simulation, but also some form of more conscious effort, as much as porn movies tell us tales about rapid climax and reduce sex only to rapid penetration and orgasms that happens in few seconds. Because of this same attitude, women hardly reach climax and feel guilty because their orgasm takes somewhat more time and effort than it takes for that of a man. Because he wants you to come, but he often doesn't really want to try to help you come. Because he wants you to love sex, but doesn't want you  to have some complicated parts that he doesn't understand.



From the problematic sentences in the movie I would also single out these few:

"I'm just a horrible human being!" Why do all women in von Trier's films feel like horrible beings?

"My mother was a cold bitch!" Is von Trier himself maybe talking through this sentence?

Aaaand certainly one of my "favorites": "If I asked you to take my virginity would that be a problem?" This experience let's not forget ends as both vaginal and anal rape in the sense: You want to fuck? Well, now you are going to get what you deserve! The same guy who took Joe's virginity, appears in the film again and again and as her one true love, the only sex which was more than sex to her. I doubt that girls fantasize about their first time as an act of rape, the same as I doubt that rarely any girl will say that the love of her life is the one who raped her.



"Nymphomaniac" is modeled on the erotic journals of the 18th-century, a genre that was filled with men masquerading literarily as women to get each other off with all the same mistakes of female anatomy as von Trier exhibits. Like the above mentioned journalist Batya Ungar-Sargon said  indeed, 90 percent of the film is cribbed directly from Memoirs of a Woman of Pleasure, or Fanny Hill, from the letters standing in for the names of her conquests to the one true love who keeps reappearing, to the S&M scene and then its reversal, it’s all there in 1749. Yes, 1749. We’ve come a long way since the days when men got off on the idea of women getting off on them getting off, in the sense of not having come any way at all. There are those who might argue that von Trier is aware of all of this, and that "Nymphomaniac" is a parody of masculine fantasies and the culture that reifies them. And there are those who will say, since the film is indeed full of religious elements, that Joe represents an orgasmic Jesus seeking transcendence, while the virginal Jew Seligman teaches her that interpretation and law, rather than the quest for the spirit, is the true path to enlightenment. But to cast Joe’s appetite for sex, which is clearly explained by the film as an attempt to dull pain and recover self-esteem (revolutionary, right!) as a search for transcendence,  is to accept the film’s terms that a woman trying to please men sexually is the only form of transcendence open to women. Isn't pop culture, telling us the same, the same culture  such-avant-garde, provocative, eccentric films actually fight? Also to cast a man as a character who explains female sexual experience is the least funny, but well if it was a woman, the film would have been too feminist! And everyone is full of fucking feminists seeking some women rights!



I would like to understand von Trier's style, but the fact is that his provocacy often goes to the bizarre, disgusting and violent, violent for women above all! I'll always be a supporter of the provocative, shock and shifting borders, not for shock's sake, but because shock makes us   open our eyes, makes us think, moves us from the comfort of our skin.  Finally he said himself that a good film should be like a pebble in the shoe. Even I agree with him in the sense that perversion, subconscious and sexuality are connected and can tell us much about man and society, but does the display of it have to be that disgusting? Also, are some scenes in his movies really necessary, or is he just enjoying them? This nonchalant Nazi always thinks all of this is very funny, and we women are just pissed off feminists who bitch about every stupid thing! You will forgive me, but his female characters do not make me feel good, not as a feminist but as a human being. Because I just don't understand his message! The only message that "Nymphomaniac" conveys is that it's okay for a woman to fuck like a man, but it is pretty much the only positive message. And even that is far fetched. It goes more in the direction of : "Women have sex a lot and that's ok, but it is only because they are neurotic sluts in their nature". The rest of the film is reduced to misogynistic invitation to rape. What exactly does von Trier has to say on the subject of female sexuality and rationality that is positive? Moreover, we got so used to his style and that sort of movies that we even don't realize that there's something wrong with them! His films are not dedicated to women, but to male fantasies that this gender has about female sex. Art should not create confusion about women's sexual desire and anatomy! Art should not be disgusting! It needs its shock effect to makes us think, but never, never  has it the right to be violent and disgusting, why don't we ask more from art? And again, the main actress, moreover the director's muse Charlotte Gainsbourg doesn't understand shit. In interviews she emphasizes how she doesn't see anything wrong with von Trier's films, although as the daughter of Jane Birkin, a politically and socially conscious woman, she should know better. The fact that the lead actress doesn't understand what is wrong with the whole story is not justification, but  proof of how misogynistic attitudes are deeply rooted in our society, so rooted that some women really think that this kind of creativity is acceptable. And finally, we do not need to be trained psychologists and psychiatrists to ask what kind of sick relationship von Trier has with his mother whom he calls a whore in the interviews. Isn't his work actually revenge?



sources for the texts: 



Kamis, 29 Mei 2014

Mizoginija u opusu Larsa von Triera part 2- sve unakažene žene u von Trierovim filmovima!



Je li von Trier zajebant ili luđak, genij ili šarlatan? Tu nas zbunjuje, ali jedno je jasno - njegov odnos spram ženskog lika. I ne moram čak reći spram žene jer neću ići ni toliko daleko da govorim o njegovom odnosu spram glumica na setu i cijelog ženskog roda, ali njegov odnos spram ženskog lika je apsolutno jasan, tu nema dvojbe. On je opsjednut  nekonvencionalnim ženskim likom, likom koji je u njegovim filmovima vječito sjeban! Isto tako žena je u njegovim filmovima uvijek u opasnosti te je uvijek prestravljena krivnjom!



Von Trierovi filmovi prepuni su dokaza za spomenute tvrdnje, počevši od "Antikrista" u kojem je varljiva Charlotte Gainsbourg koja glumi ženu poznatu samo kao "Ona", prisiljena podnijeti niz odvratnih iskušenja. Gainsbourg glumi ženu uništenu tugom nakon što je sinčić pao u smrt dok su se ona i njen muž psihoterapeut (Willem Dafoe) seksali. Muž predlaže oporavak odlaskom u kolibu u šumi koja se zove Eden, zamisli čuda, očigledan simbol rajskog vrta iz kojeg su Adam i Eva protjerani jer je kurva Eva probala jabuku. Međutim, stvari pođu po krivu. Razbješnjena  njegovim mirnim, patronizirajućim načinom, ona ga napada komadom drveta, buši rupu u njegovoj nozi u koju umeće željeznu šipku i kači je za teški kotač. Onda dolazi njen red na tešku patnju. U najmučnijoj sceni u filmu, ona vrši čin genitalnog sakaćenja komadom škara. Konačno, muž je davi i pali njeno tijelo. Paljenje ženskog tijela? Još jedan simbol koji zvuči poznato? Zbog svojih boli Gainsbourg je proglašena najboljom glumicom te godine na Cannesu, iako bi Orden časti bio prikladnija nagrada. Usput budi rečeno i u "Antikristu" i u "Nimfomanki" ponavlja se gotovo identična scena u kojoj muško dijete stoji na prozoru i gleda u svoju smrt, dok vani pada snijeg, a majka mu isto vrijeme doživljav orgazam! Ne mislim da je ovo slučajno, nego dobar put ka uzorku. Iako u "Antikristu" dječak baš vidi roditelje kako se seksaju te odlazi u smrt, u "Nimfomanki" dječačić ne vidi sam čin i ne umire, ali je vrlo blizu tome da umre. U oba slučaja, pogotovo u "Antikristu" gdje majka vidi kako joj dijete pada u smrt, ona ne pokazuje osjećaj krivnje jer toliko uživa u seksu, dapače potpuno je neemotivna prema svom djetetu. Ova scena nije bezazlena. Ona nosi metaforu Freudove "primarne scene" u kojoj djeca po prvi puta vide svoje roditelje u seksualnom činu. Dijete u tom slučaju ne shvaća sam čin, u najmanju ruku vidi ga kao čin nasilja, čin koji za njega ostaje enigma te ga duboko potiskuje, makar isti izaziva i određeno seksualno uzbuđenje kod djeteta. Makar potisnut, svjedočenje ovom činu može uzrokovati traumu u psihoseksualnom razvoju djeteta.  Iz ovog jedino mogu zaključiti, da mora da je seksualni život von Trierove majke prilično utjecao na njega ako ima potrebu osakatiti baš svaki glavni ženski lik u svakom svom filmu.


Ali ovakav stav prema ženskom liku vidljiv je još od filma "Lomeći valove"  ("Breaking the Waves" (1996) ) U filmu se mlada Bess koju tumači Emily Watson, pripadnica stroge religijske zajednice na izoliranom škotskom otoku, udaje za Jana, stranca koji radi na naftnoj platformi. Kad on teško strada, ona moli Svevišnjeg da ostane živ. Posve nepokretan, Jan traži od Bess da se podaje drugim muškarcima i priča mu o tome. Bess pristane, prestravljena krivnjom i uvjerena da će mu tom žrtvom spasiti život. Svojevoljno se degradira pred mnogobrojnim partnerima te na kraju skončava pretučena i izrezana od strane sadističkog mornara. Kao početni dio trilogije o »zlatnim (ženskim) srcima« film je izazvao brojna proturječja, snažne napade znatnog dijela feminističke kritike te optužbe za »sadističko iživljavanje nad psihički labilnom junakinjom«, čija je posvećenost voljenom muškarcu protumačena kao poželjan patrijarhalni model muškarcu ultimativno predane žene.


U kontroverznom mjuziklu "Plesačica u mraku"  ("Dancer in the Dark" (2000) ),  Björk je izbjegla teško fizičko unakaženje, ali svejedno kao Selma, siromašna češka doseljenica u Ameriku gotovo oslijepi, ubije čovjeka pomoću sefa i na kraju završi tako da je objese. Suvišno je reći kako je Bjork nakon filma izjavila kako je film imao teške emotivne posljedice na nju, kako je von Trier seksist i kako više neće raditi s njim. Često je citirana i njena tvrdnja kako von Trier treba glumice da uliju dušu u njegov film i onda im zavidi na tome i mrzi ih.



Nicole Kidman bila je sljedeća žrtva. U Dogville-u iz 2003., bježeći pred gangsterima, prekrasna Grace (Nicole Kidman) dolazi u izolirani gradić Dogville. Stanovnici i gradonačelnik joj pomažu da se sakrije. Iz zahvalnosti, Grace pristane raditi za njih. No kada se potraga približi Dogvilleu njegovi stanovnici zahtijevaju bolji dogovor i veću naknadu jer smatraju da im je zaštita Grace prevelik rizik. Pritom je tjeraju na svakakve vrste degradacije, konačno tjerajući je da nosi željezni ovratnik sa zvoncem i teretom kako bi se spriječio njen bijeg. Ona postaje bespomoćna žrtva seksualnih hirova nekoliko ljudi iz gradu.

"Ne mislim da sam mučio Nicole u Dogville-u, ali sjećam se da je rekla kako joj je bilo teško", nonšalantno je rekao von Trier u jednom intervju,  iako su njih dvoje navodno imali burne rasprave na setu. Ovaj čovjek u stanju je i vrlo opušteno izjaviti rečenice poput: "Sigurno mogu biti zao, ali mnogi ljudi mogu biti zli, ako im se pruži prilika!"




Von Trier je preenigmatičan i prevješt da bi dao neke izravne odgovore na svoj rad, pogotovo onda kada su ga otvoreno pitali je li "Antikrist" mizoginičan. Tada je rekao da ne zna i kako se često pita što bi se desilo da jednostavno otvoreno kaže kako mrzi žene. Čini se kakvo više ništa ne mora reći, dovoljno nam je rekao svojim filmovima!




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Misogyny in opus of Lars von Trier part 2 - all the mutilated women in von Trier's films!


Is von Trier a showman or a madman, a genius or a charlatan? This confuses us, but one thing is clear - his relationship with the female character. I don't even have to use "the relationship with women" because I will not go so far as to speak about his relationship with the actresses on the set or with the entire female gender, but his relationship with the female character is absolutely clear, there is no doubt. He is obsessed with the unconventional female character, a character who is forever fucked up in his films! Also women in his films are always in danger and are always terrified with guilt!



Von Trier's films are full of evidence for these claims, starting with the "Antichrist" in which the beguiling Charlotte Gainsbourg, who plays a woman known only as "She" is forced to endure a series of gruesome ordeals. Gainsbourg plays a woman devastated with grief after her little boy fell to his death while she and her husband the  psychotherapist ( Willem Dafoe ) had sex. The husband proposes recovery by going to a cabin in the woods called Eden, funny thing, an obvious symbol of the Garden of Eden, from which Adam and Eve were expelled since the whore Eve tasted the apple. However, things go wrong. Infuriated by his calm, patronizing way, she attacks him with a piece of wood, drills a hole in his leg into which she inserts a steel rod and hooks a heavy wheel to it. Then comes her turn for severe pain. In the most excruciating scene in the film, she performs an act of genital mutilation with a piece of scissors. Finally, the husband strangles her and burns her body. Burning of the female body? Another symbol that sounds familiar? Because of her pain Gainsbourg was named best actress at that year's Cannes Film Festival, although a Medal of Honor would be more appropriate. Furthermore, in the "Antichrist" and in the "Nymphomaniac" almost the same scene is repeated, in which a male child stands at the window looking into his death, while it's snowing outside, and his mother is having an orgasm at the same time! I do not think this is a coincidence, but a good way to a pattern. Although in the "Antichrist" the boy sees his parents having sex and goes out to his death, in the "Nymphomaniac" the boy doesn't see the act itself and doesn't  die, but it is very close to his death. In both cases, particulary in the "Antichrist" where the mother sees her child falling to his death, yet shows no guilt because she enjoys sex so much, actually she is  completely unemotive to her child. This scene is not harmless. It shows a Freudian metaphor of the "primary scene" where children see their parents in a sexual act for the first time. The child in this case, doesn't realizes the act, at the very least it sees it as the act of violence, an act which remains an enigma for it, and is deeply suppressed, even though the same causes specific sexual arousal in children too. Although suppressed, witnessing this act can cause trauma to the psychosexual development of the child. From this I can only conclude that the sex life of von Trier's mother rather influenced him if there is such a need to cripple every main female character in each of his films.


But this attitude towards the female character is even seen from the film "Breaking the Waves"  from  1996. In the film, young Bess played by Emily Watson, a member of a strict religious community on an isolated Scottish island, marries Jan, a foreigner who works on an oil rig. When he is severely injured, she prays to the Almighty to keep him alive. Completely immobile, Jan asks Bess to commit herself to other men and tell him about it. Bess agrees, terrified with guilt and convinced that with this sacrifice she will save his life. Willingly she degrades herself to multiple partners and finally ends up beaten and cut by a sadistic sailors. As an initial part of the trilogy of "gold ( women's ) hearts", the movie had caused numerous contradictions, strong attacks of a substantial part of feminist criticism and accusations of "sadistic torture of mentally deranged heroine", whose dedication to his beloved man was interpreted as a desirable model of patriarchal man’s ultimately devoted wife.


In the controversial musical "Dancer in the Dark" from 2000., Björk avoided physical disfigurement, but still as Selma, a poor Czech immigrant in America, she nearly goes blind, kills a man using a safe deposit box and ends up being hanged. It is more than enough to say that after the film Bjork said that the film had a severe emotional effect on her, that von Trier is a sexist and that  she no longer wants to work with him. She is often cited for her statement that von Trier needs actresses to pour their soul into his movies and then he envies them for it and hates them.


Nicole Kidman was the next victim. In Dogville from 2003. fleeing from gangsters, beautiful Grace (Nicole Kidman) comes into the isolated town of Dogville. Residents and the mayor  help her to hide. Out of gratitude, Grace agrees to work for them. But when her pursuers approaches the town, the residents of Dogville demand a better deal and higher fee because they believe that the protection of Grace is too great a risk. They push her on all kinds of degradation, finally forcing her to wear an iron collar with a bell and cargo to prevent her escape. She becomes the helpless victim of sexual whims of a few people from the town.

"I do not think I tortured Nicole in Dogville-in, but I remember that she said it was hard",  nonchalantly said von Trier in an interview, although the two of them reportedly had heated debates on  set. This man is also capable and very relaxed saying sentences like: "Surely I can be mean, but many people can be mean, if given the chance!"



Von Trier is too enigmatic and too skillful to give any direct answer to his work, especially when asked openly whether the “Antichrist" was mysogynistic. Then he said he didn't know and that he often wonders what would happen if he just said he hates women. It seems that he doesn't have to say anything anymore, he told us enough with his films!



Selasa, 27 Mei 2014

Mizoginija u opusu Larsa von Triera part 1- Biblijski utjecaji u von Trierovom radu!



Sada kada je von Trierova trilogija pod nazivom "Depresija" napokon gotova, a strasti oko "Nimfomanke" napokon su se stišale, zaokružimo priču o svim von Trierovim ženskim likovima. Spomenuta trilogija sastoji se od filmova "Antikrist", "Melankolija" i "Nimfomanka", a u svom fokusu bavi se pitanjem depresivne žene. U čitavom von Trierovom opusu ključna su upravo ova dva pojma. Depresija - kao stanje od kojeg i sam boluje te  žena - prema kojoj redatelj posjeduje iznimno negativan stav. Od njegove "Medeje" iz 1988. do "Depresije", von Trier je "stručnjak" za lik sjebane žene. Potonja se, kao što sam navela sastoji od:

a) "Antikrista" iz 2009. – kojem imamo ženskog lika čije dijete umire u onom trenutku kad mu majka doživljava orgazam


b) "Melankolije" iz 2011. - u kojem imamo ženskog lika koji utjelovljuje depresivnu ženu kao suprugu



c) "Nimfomanke" iz 2013 – u kojem imamo ženskog lika koje utjelovljuje modernu kurvu babilonsku


Von Trier je tako u svojoj trilogiji pokrio sve tri uloge žene- majku, suprugu i kurvu, pritom sve tri kao oličenje zla. Ovaj zaključak čini se poprilično ishitrenim, ali molim vas za strpljenje, bit će pomno objašnjen. U sva tri filma, žena je luda ili bar iracionalna, dok je muškarac racionalan. Ona je također depresivna i neoptimistična, a on je energija koja objašnjava, daje kontekst, umiruje i podiže. U filmovima je prilično jak i religiozan, odnosno biblijki element, pritom prvenstveno mislim na "Antikrista" i "Nimfomanku", na koje ću se u tekstovima prvenstveno i osvrnuti,  jer je nekim čudom, lik Kirsten Dunst u "Melankoliji", pošteđen tjelesnog sakaćenja, psihičke torture i ponižavanja koji su tako svojstveni glavnim ženskim likovima u svim von Trierovim filmovima. Osim biblijskog elementa, vidljiv je i jak utjecaj Davida Lyncha koji je također poznat po iživljavanju nad svojim ženskim likovima. No, čak neću niti ulaziti u rad svih takvih sličnih redatelja, a lista ih je poduža, nego ću se "samo" osvrnuti na ono što Biblija ima za reći na temu žene kako bih vam dočarala što je toliko krivo u tome da se von Trier baš toliko pali na Bibliju kao izvor svoje mizoginističke inspiracije. A najmizogičnija knjiga ikad napisana kaže ovako: 

"Bolja je zloća muška nego dobrota ženska; od žene potječe sramota i ruglo."
[Knjiga Sirahova* 42, 14]

Ta ista Biblija, navodi kako žena nije stvorena kao muškarac, da slobodno šeta rajskim vrtom i imenuje životinje, nego upravo radi muškarca, da mu se nađe kao pomoć. Konkretno, ona je tu samo da rađa i pomaže mu, dok je njen položaj niži od onog životinja. "Muškarac - Čovjek onda imenuje ženu, kao i sve druge životinje prije nje!", kažu sveti spisi, a među mnoštvom takvih inspirativnih misli, izdvojila bih još neke poput:

"Malena je svaka zloća prema zloći ženskoj: neka je snađe kob grešnička!"
"Ne daj se zavesti ljepotom ženskom i ne žudi za ženom."
"Od žene je grijeh počeo i zbog nje svi umiremo."
"Ako ne čini kao što joj pokažeš, otpusti je od sebe."
"Kreposna je žena vijenac mužu svojemu, a sramotna mu je kao gnjilež u kostima."
"Ženina je bludnost u njezinu drsku pogledu i poznaje se po njezinim trepavicama."

Spomenimo i primjere žena kao oličenja zla koje se provlače kroz Bibliju:  

Saloma – zbog neuzvraćene ljubavi, zatražila je i dobila odsječenu glavu Ivana Krstitelja na pladnju.




Delila – prijevarno izručila supruga Samsona neprijateljima u ropstvo, sljepoću i smrt.



Eva – je unijela grijeh radi kojega svi umiremo/prokleti smo od rođenja, pa nam je muškarac Isus morao otvoriti vrata u Raj (samo ako ga priznamo).



Kršćansko tako otvoreno ženama pripisuje zlo, što nam "Ona" u "Antikristu" (glavna glumicu u filmu nosi samo naziv "Ona") divno pojašnjava svojim monologom na temu ženske prirode koja je u biti zla, tvrdeći kako žene ne mogu kontrolirati svoja tijela, već je priroda ta koja ih kontrolira. Njen  monolog bazira se na jednostavnoj formuli:  muškarac = racionalno, racionalno= dobro, muškarci = dobro, dok  priroda =  ženska priroda, žena= prirodno zlo.  Nije li zgodno ovako lagano prikriveno, u usta svoje glavne glumice ugurati takvo mizoginističko smeće od zaključka na temu ženskog roda? Nema šta' , Von Trier je specijalist za zao, hiperseksualan ženski lik i koliko god nam njegovi filmovi pokazuju sirovu žensku seksualnost i govore nam da ženska golotinja i seksualna želja jest normalna (makar joj on uvijek daje podkontekst zlog, neprilagođenog, sramotnog, mračnog, o nadasve mračnog), i koliko god na neki način kazuje da je ružno od nas što smo natjerali ženu da bude opterećena svojom seksualnošču, toliko uporno ženski lik stavlja u negativan kontekst!  



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Misogyny in opus of Lars von Trier Part 1 - Biblical influences in von Trier's work!



Now that von Trier's trilogy titled "Depression" is finally done, and passions about "Nymphomaniac" finally got quiet, let's circle the story of all of von Trier's female characters. The aforementioned trilogy consists of films "Antichrist," "Melancholia" and "Nymphomaniac", and its focus is on the issue of depressive women. Throughout von Trier's work precisely these two terms are crucial. Depression - a condition which he himself suffers from and a woman - towards which the director has a very negative attitude. From his "Medea" from the 1988. to the "Depression", von Trier is the "expert" for the fucked up women. The latter as I stated,  consists of:

a) "Antichrist" from 2009. - which has a female figure whose child dies at the moment when his mother experiences an orgasm


b) "Melancholy" from 2011. - where we have a female character who embodies the depressive woman as a wife


c) "Nymphomaniac" from 2013. - in which we have a female character who embodies the modern whore of Babylon



So Von Trier covers all three roles of women in his trilogy – a mother, a wife and a whore, while all three are the personification of evil. This conclusion seems to be rather hasty, but please be patient, it will be carefully explained. In all three films, the woman is crazy, or at least irrational, while the man is rational. She is also depressed and non- optimistic, and he is the energy that explains, gives context, calms and raises. The films also have quite strong and religious or let's say biblical elements, and I primarily think here of the "Antichrist" and the "Nymphomaniac", which I will be primarily looking back in the texts, because  miraculously,  Kirsten Dunst's character in "Melancholia" is for some reason spared of physical mutilation, psychological torture and humiliation that are so characteristic for the main female characters in all of von Trier's films. In addition to the biblical elements, we can also see a strong influence of David Lynch who is also known for the oppression of his female characters. But I will not even go into the work of all such similar directors, although the list is long, but I will  "only" take a look at what the Bible has to say on the subject of women in order to illustrate what is so wrong with the fact that von Trier is so hot about the Bible as the source of his  misogynistic inspiration. And the most misogynistic book ever written says this: “A man's wickedness is better than a woman's goodness; women bring shame and disgrace."
[The Book of Sirach * 42 , 14 ]

This same Bible says that a woman was not created as a man, to feel free to walk the heavenly garden and appoint the animals, but just for the sake of man, she was created to help him. So her only role is to give birth and help him, while her position is lower than that of the animals. "Man - the man then appoints a woman, like all other animals before it!", say the scriptures, and among many such inspiring thoughts, I would single out some more like:

"Small is any malice toward wickedness of a women: let fate befall the sinner!"
"Do not be misled by the beauty of the woman and have no desire for a woman."
"From a woman a sin began and because of her we all die."
"If she doesn't do like you show her, let her go of yourself."
"A virtuous woman is a crown to her husband, and the shameful one is like rottenness in his bones."
"A woman's viciousness is in her brash look and is known through her eyelashes."

Let's also mention examples of women as embodied evil that permeate the Bible:

Salome - for unrequited love, she requested and received the head of John the Baptist cut off on a platter.



Delilah – she fraudulently extradited the husband Samson to the enemies into slavery, blindness and death.



Eve - she brought the sin, for whom we all die / we are cursed since birth, so our man Jesus had to open the door to heaven (if we admit him).



Christianity so openly attributes evil to women, which " She " in the " Antichrist " ( the main actress in the film is only named "She" ) explains  so wonderfully with a monologue on the topic of women's nature, which is in fact evil, arguing that women can not control their own bodies but the nature it the one who controls them.  Her monologue is based on a simple formula : male = rational, rational = good , men = good , while the nature = female, female = natural evil. Isn't it nice lightly disguised, to put such misogynistic trash conclusion on the subject of the female gender in the mouth of his main actresses? There is no doubt, Von Trier is a specialist for evil, hypersexualised female characters and although his films show us the raw female sexuality and tell us that female nudity and sexual desire are normal ( although he always gives subcontext of evil, unruly, shameful, dark, oh especially dark), and as much  in some way he indicates that is wrong of us  us to make a woman feel weighted with her sexuality, at the same time he persistently puts female character in a negative contexts !


Kamis, 22 Mei 2014

Turska kava - neuništiva životna sila!


Suprotno mišljenju nekih, tursku kavu lako je spraviti. Stavite vodu, kada prokuha, maknite s vatre, u srednje veliku đezvu stavite 6 žličica kave (ja volim jaku kavu, onu koja diže iz mrtvih nakon neprospavane noći koja je otišla na pisanje) i vratite na vatru  vrlo kratko dok se pjena ne digne! Osobno, umjesto šećera volim staviti zdraviju/finiju varijantu - med! 

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Contrary to the opinion of some, Turkish coffee is easily to make. Put the water, when it boils remove from heat,  put six teaspoons of coffee in a medium coffee pot (I like strong coffee, one that rises from the dead after a sleepless night that went on writing) and return to the fire very briefly until the foam rises! Instead of sugar I like to put healthier / tastier variant - honey!