自卫

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 Science

The 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.”

红衣祖师死于猎人误杀？

新增的第十一条规则：用枪的都是弱者？

午夜课堂袭击路人？

一定要先问问对方有没有枪？

红衣祖师就是死在午夜袭击的时候吧，被带枪的路人反杀，而黑衣老师当时就是身旁的帮凶，也亲眼目睹了自己老师被反杀。

所以整个道场从根儿上就是个犯罪团伙吧。

整部影片观感不错，黑色成分并不剧烈但也让人觉得“吃饱了”。女主美丽可爱。

一、男主弱小但不弱势，大小是个小白领，比较怂罢了，应该能引发大面积的共情效果；

二、序幕，法国人用法语侮辱其实正在学习法语且程度较高的男主，不断拿男主生殖器大小做文章，这一幕看似闲笔，实属高能，漫不经心间为后面剧情埋下多处伏笔，比如男主的逆来顺受，赏图自摸，购枪，男学员互相按摩，食指（字幕组很调皮，译为一指禅。。。）等；

三、腰带不是简单的社会等级隐喻，对男主而言，无腰带，不雄起；

四、枪的联想不言自明，但很丰富，作为男主的致胜武器，完美反讽第十一条规则：The gun is for the weak. 是相当危险的政治隐喻；

五、强弱转换在于认清规则，反转规则（好了，不能再多说了，点到即止）；

六、卡车司机是典型的霸凌者，看碟下菜，外强中干，不然干嘛要问男主的空手道段位？自杀的那位学员则是货真价实的霸凌受害者；

七、办公室政治，圈里圈外，都不容易，职场人士意淫一下就好了，别轻易付诸实践；

八、没人觉得道场教练魅力非凡么？觉得可以出前传；

九、关于两性的刻板印象，倒没提供多少新意，有人说该片还有同性恋的内涵，可能我直，感受不深；

十、冷飕飕的笑点，不一而足，且配乐极棒，因为几乎没有；

十一、中文片名中的“自卫”二字虽是忠实直译，但内涵远超英文片名，国人自然懂。

勉强凑足十一条，算是致敬道场十一门规吧。顺便提一下，那位用英文写影评的朋友，就是大谈尼采的那位，英文漂亮，影评相当到位，真心话。

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

关于这部片子的主旨，很多影评已经分析出了很多角度，在这也就不多叙述了。看完这部电影，最明显的感觉就是导演是直接赤裸裸地对着《搏击俱乐部》去黑的，而且黑得很妙。很多场景主题都充满了既视感。

下面上几张图，大家简单对比一下：

1、“帮助他人，教人成长”

2、“揍老板（不管老板好坏）”

3、“通过肢体碰撞来发泄”

4、以前看色情图片

现在看产品目录

如果说《搏击俱乐部》是教导男性不要被消费主义腐化了，找回男子气概，像个男人一样站起来；那《自卫艺术》就是给其中一部分因为看了《搏击俱乐部》而脑袋发热的人泼的一盆凉水：醒醒！站起来也是要看方法的，不是脑袋一热沉溺暴力就是对的。

9张漫画风格长图带你看懂《自卫的艺术》。

这部电影漫画感极强，而且摄影非常出色，调皮了一下，利用电影剧照制作了9张长图篇幅的漫画。

对白没有完全忠实原片，但是巨对是原本对白内容的高度提炼，满满的精华。

也许你已经注意到，凯西的扮演者就是杰西·艾森伯格，《蝙蝠侠大战超人：正义黎明》中的反派莱克斯·卢瑟的扮演者。

不知道大家是否还记得2009年的《僵尸之地》，丹尼尔在其中扮演末日中幸存的计划通宅男哥伦布，正是这部不起眼的丧尸电影使得怀才不遇的杰西·艾森伯格声名大噪。

此次推荐的2019年新片《自卫的艺术》则是杰西·艾森伯格在黑色喜剧方面开拓戏路的一次大胆尝试。

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2019《小丑》现象级热度成因解析⬇️

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