The Pervert's Guide to Ideology (Fiennes, 2012): Odeon West End 1, 6pm
This film also screens at VUE7 in Leicester Square on Sun 21 Oct at 8.45pm. Details here.
56th LONDON FILM FESTIVAL (10-21 October 2012) DAY 11
day (from October 10 to October 21) I will be selecting the London
Film Festival choices you have a chance to get tickets for and the
movies you are unlikely to see in
London very soon unless you go to see them at the Festival. Here
is the LFF's main website for the general information you need. Don't
worry if some of the recommended films are sold out by the time you read this as there are always
some tickets on offer which go on sale 30 minutes before each
screening. Here is the information you need to get those standby tickets.
London Film Festival introduction:
'In keeping with good blockbuster logic, renegade philosopher and bionic
cineaste Slavoj Žižek gets his own sequel in Sophie Fiennes’ engrossing
follow-up to The Pervert’s Guide to Cinema. Unleashing his voracious
intellect on films from The Sound of Music to Full Metal Jacket, Žižek
postulates on where and how cinema reinforces, and sometimes exposes,
the tenets of prevailing ideologies. Leaping (literally) from the
‘trashcan of ideology’ in John Carpenter’s They Live – in which a
drifter discovers a pair of sunglasses that allow him to read the real
messages beneath everyday signs – Žižek continues on an intellectual
rampage via Jaws, Starbucks, Oratorio For Prague, The Dark Knight,
Weapons of Mass Destruction, and the London riots – until he reaches the
monstrous heart of his dissertation in John Frankenheimer’s Seconds, a
cult classic about a man whose fantasies can’t ultimately be satisfied
because he ‘dreams the wrong dreams’. Reprising the technique of the
previous film by locating Žižek in elaborately recreated scenes from the
films he critiques (Titanic affording one of the film’s funniest visual
gags), Fiennes takes this further by providing more real-world context
through news footage and excerpts from propaganda films, resulting in a
documentary essay as resonant as it is wilfully provocative.'
Here is the trailer.