| French director Francois Fran(?)ois Ozon is a force that cannot be ignored in the film industry.His works hover between the mainstream and the edge,and his style is between pure and complex.Each of his films is a dismantling of a power machine,a "line of fight" from the Oedipus establishment.This paper is divided into three parts: introduction,main body and conclusion.The introduction,with "eros" "Ozon and Ozon’s films" as the focus,expounds the basis of the topic selection of this paper,and respectively reviews the current research status of domestic and foreign academia on "eros" and Ozon’s films,and summarizes the research significance and research methods adopted in this paper.The main body consists of chapters two through four.The second chapter,with Deleuze’s "escape fight" theory as the clue and Marcuse’s "eros-politics" theory as the support,combs out a eros line of Ozon’s films.This line of fight starts from the resistance to oppressive civilization.Through "sublimation of sexual desire" and "liberation of art",non-cultural heroes such as Orpus and Narcissos are created in the film.With their different life experiences and body desires,they write about the taboos’ breakthrough,human nature’s extension,and the questioning of life and death.It reflects Ozon’s affirmation and pursuit of freedom and independence,as well as his criticism of postmodern society and reflection on the existence of life.The lines of eros interweave,split and regenerate in the process of past and present,tradition and rebirth,filling the inside and outside of eros in Ozon’s films and constructing the space and time of eros in her films.The third chapter continues the previous chapter,naming the time and space in Ozon’s films respectively with the Deleuzian "crystal" and Foucault’s "pleated subspace",pointing out that the relationship between characters in Ozon’s films.The characters anchor their own different coordinates in their hearts,dismembering the texture and category of time and space,and reshaping the tension of narrative and emotion.Every story in Ozon’s films is about sex,which is a counterpoint to cultural orthodoxy.Therefore,Chapter four focuses on the film’s repulsion of the cultural phenomenon of love and presents its commending and questioning of love and reflection and criticism of heterosexual cultural hegemony.That is,after eliminating the label of love as human’s instinct,what attitude should one assume in thinking about interpersonal emotion and the relationship between power and power.Finally,the epilogue further concludes that the film is the "line of fight" of Ozon,in which Ozon constructs a new way of life and highlights the seriousness behind the dramatic infatuation with desire.Thus,love like "halo" flickers again,surging in the pulse of the image,expanding the boundaries of freedom. |
