영화 <요리사, 도둑, 그의 아내 그리고 그녀의 정부>에 의해서 환기된 혐오반응

Revulsion Response Evoked by The Film 'The Cook The Thief His Wife and Her Lover': Comparative Studies on Cognitive Perspective of Aristotle, Freud and Girard

How violent actions could affect us hedonically? The Eyes of the audienceare consistently fixed to the scenes of The Film <The Cook>1) which isrepulsive but beautiful, or beautiful but repulsive and then they seriouslyquestion themselves about raison(reason) and deraison. The opening of thefilm <The Cook>, The Thief, Albert(Michael Gambon) harass a poor sacrifice,boy forcing to eat crap and having a piss very cruelly and viciously. Froma commonsesne standpoint, As soon as Some audience saw the disgustingscene, they ran out a theater expressing disgust. but such a situation neverhappened. Maybe the director, Peter Greenaway reckons on not giving riseto that happening. Moreover, Some audience can afford to get an obviousthrill out of abhorrence of reproduced screen image. It is the same meaningthat Sade was sure that Inside of us as human has been exactly ‘Sadism’like theory of ‘Freud’. Of course, ‘Freud’ mustbe clear about harsh sexualdesire of human. Either realistically or artificially, The audience having seenthe film experienced almost simultaneously repulsion and enchantment. Eventually, throughout the film <The Cook> The director Peter Greenaway would expect that the audience went through a strong impact effect likethat. I suppose that the film <The Cook> is to be what is a ‘Sadism’ withinvery expanded meaning. The audience are focused on the screen which teemwith extremely voluptuous sexual desire that is sexual behavior, violence,voyerism, power and sin etc. The Film <The Cook> involved the imagewhich was identified with the thought that human being cannot choose butfeel an extreme pleasure simultaneously with an extreme unpleasure. butThe film <The Cook> has to confront the audience with a sexual perversionand the audience is obliged to recognize a impersonality concealing innerside of human being. Simultaneously the audience is obliged to appreciatea relation of a hedonic death and a voluptuous pleasure life. In an extensionof a hedonic death and a voluptuous pleasure life, we should reflect seriouslyhow to experience pleasure into unpleasure or unpleasure into pleasure. Finallythe film <The Cook> implies that a moral sense of human being could befound all the better by a process of observing a staggering immoral actionand how to be easily broken. From now, I give a description of this problemFocusing on Freud’s perspective.