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| Killing the Buddha: Ritualized Violence in Fight Club through the Lens of Rinzai Zen Buddhist Practice | ||
| 作者 | Seton, Gregory Max (著) |
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| 出處題名 | Religions |
| 卷期 | v.9 n.7 |
| 出版日期 | 2018.07 |
| 出版者 | MDIP |
| 出版者網址 | https://www.mdpi.com/ |
| 出版地 | Basel, Switzerland [巴塞爾, 瑞士] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 關鍵詞 | Buddhism; Zen; Rinzai Zen; film; film theory; violence; Fight Club; ritual |
| 摘要 | David Fincher may not be an expert in Buddhism. But his description of Fight Club—as reprising the figurative admonishment to “kill the buddha” by Lin-ji Yi-xuan (9th cent.), the founder of the Rinzai Zen Buddhist school—illuminates the way that Fincher’s own directorial choices mirror the ritualized practices of Rinzai Zen aimed at producing insights into the imaginary and subjective nature of reality. Other articles have already looked from the perspective of film criticism at the many Buddhist (and non-Buddhist) diegetic elements in Fight Club’s story, plot, and dialogue. In contrast, this article analyzes the non-diegetic elements of Fincher’s mise-en-scène in Fight Club from the perspective of film theory in order to demonstrate the way they draw inspiration from certain Zen Buddhist pedagogical methods for breaking through to a “glimpse of awakening” (kenshō). By reading David Fincher’s directorial choices in light of Zen soteriology and the lived experience of Rinzai Zen informants, the article sheds light not only on the film’s potentially revelatory effects on its viewers, but also on esoteric aspects of Rinzai Zen pedagogy as encapsulated in Lin-ji’s “Three Mysterious Gates” and Hakuin’s three essentials of practice. |
| 目次 | 1. The First Mysterious Gate: Frame and Emptiness 2. The Second Mysterious Gate: Identity and Identification with Kōans 3. The Third Mysterious Gate: Identification and Dissociation through Violence 4. Conclusions |
| ISSN | 20771444 (E) |
| DOI | 10.3390/rel9070206 |
| 點閱次數 | 79 |
| 建檔日期 | 2021.11.12 |
| 更新日期 | 2023.06.19 |
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