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Wednesday, June 1, 2011

Reading Edward Cullen As Dangerous Through Baudrillard

Robert Pattinson as Edward Cullen in Twilight

I would see how he enjoyed the hunt when he was the prey. I would see what he thought of my 
style of hunting. (MS)

I was a predator. She was my prey. There was nothing else in the whole world but that truth.

KILLING POSSESSING DEVOURING - the entirety of our individual unconscious is organized around these terms and the phantasmas that surround them, under the sign of repression. (Baudrillard - SEAD p. 139)

Edward Cullen
I made it through the hour in this way. _imagining the best ways to kill her. I tried to avoid imagining the actual act. That might be too much for me; I might lose this battle and end up killing everyone in sight. So I planned strategy and nothing more. It carried me through the hour.

The smell of her blood saturated every particle of air in the tiny, hot room. My throat burst into flames.(MS)

GIVING RETURNING EXCHANGING - with the primitives, everything operates in the manifest collective exchange around these three terms, in the myths that underlie them. .... The verbs of the symbolic assume, on the contrary, a reversibility, and indefinite cyclical transition. (Symbolic Exchange And Death p. 139)

I wanted his death so savagely that the need for it rang in my ears and clouded my sight and was a flavor on my tongue. My muscles were coiled with the urgency, the craving, the necessity of it. I had  to kill him. I would peel him slowly apart, piece by piece, skin from muscle, muscle from bone.... (MS)

Bella: Did you ever think that maybe my number was up that first time, with the van, and that you've been interfering with fate?
Edward: That wasn't the first time.
My barriers were down, the truth spilling free recklessly.Your number was up the first time I met you. (T and MS) 

And of course your number was up the first time I met you was also eliminated. Anathema to PC Feminist Discourse.
In the primitive order, murder is neither  violence nor an acting out of the unconscious.  So for those who kill the king, there is no seizure of power nor any increase in guilt, as there is in the Freudian myth. Neither does the king simply endure this. Instead, he gives his death, returns it in exchange, ......(SEAD p. 139)
Reading through Twilight:
Edward: I'm dangerous, Bella - please, grasp that.
Bella: No.
Edward: I'm serious.
Bella: So am I. I told you, it doesn't matter what you are. It's too late.
Edward: Never say that.
I intuitively knew - and sensed that he did , too - that tomorrow would be pivotal. Our relationship couldn't continue to balance, as it did, on the point of a knife. We would fall off one edge or the other, depending entirely upon his decision, or his instincts. My decision was made, made before I'd ever consciously chosen, and I was committed to seeing it through. Because there was nothing more terrifying to me, more excruciating, than the thought of turning away from him. It was an impossibility. (T p. 248)
In the meadow where Bella is with Edward, with no one knowing she is with him:
You already know how I feel, of course.... I'm here... which, roughly translated, means I would rather die than stay away from you. (T p. 274)
Entering the Symbolic Exchange Order, we have Bella offering herself, giving herself, making a sacrifice of herself, making a gift of herself. A sacrificial death is artificial, unnatural, non-biological. Why deaths in car crashes are so fascinating to us.

The meadow scene which is not filmed in Twilight, an omission that outrages twihard fans is a dangerous scene for PC feminists to contemplate. It does not fall into the feminist Discourse of modern courtship at all. So it must be eliminated and turned into a travesty of jump cuts, which is far better analyzed by Walter Benjamin in his essay Art in the Age of Mechanical Reproduction.

I'm getting there I hope.

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