Joker NOT Going Psycho

1
The Joker [holding a knife inside Gambol's mouth]: Wanna know how I got these scars? My father was....a drinker. And a fiend. And one night he goes off crazier than usual. Mommy gets the kitchen knife to defend herself. He doesn't like that. Not. One. Bit. So, me watching, he takes the knife to her, laughing while he does it. Turns to me and he says "Why so serious?" Comes at me with the knife,"Why so serious?" He sticks the blade in my mouth. "Let’s put a smile on that face!" And... Why so serious?
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Gentleman at party: We're not intimidated by thugs!
The Joker [as he smacks his lips]: You know, you remind me of my father. [pulls out his switchblade and brings it to the Gentleman's mouth]
The Joker: I hated my father!
Rachel Dawes [off screen]: Okay, stop! [turns to face Rachel, tosses the Gentleman to his thugs and approaches Rachel, adjusting his hair with the knife]
The Joker: Well, hello, beautiful. You must be Harvey's squeeze, hmm? And you *are* beautiful. [hovers around the incredibly nervous Rachel]
The Joker: You look nervous. Is it the scars? You want to know how I got 'em? [grabs Rachel's head and positions the knife by her mouth]
The Joker: Come here. Hey! Look at me. So I had a wife, beautiful, like you, who tells me I worry too much. Who tells me I ought to smile more. Who gambles and gets in deep with the sharks... look at me! One day, they carve her face. And we have no money for surgeries. She can't take it. I just want to see her smile again, hmm? I just want her to know that I don't care about the scars. So... I stick a razor in my mouth and do this... [mimics slicing his mouth open with his tongue]
The Joker: ...to myself. And you know what? She can't stand the sight of me! She leaves. Now I see the funny side. Now I'm always smiling! [Rachel knees the Joker in the groin; he merely laughs it off]
The Joker: A little fight in you. I like that.
Batman: Then you're going to love me.
3
You're going to love
me.

The Joker: And here we...go! [Batman slams The Joker’s head on a table]

A Isabella É

Isabella, Agora e Antes

Marx, Miami Vice

Miami Vice. O vilão [Montoya] informa os servidores da lei [Sonny e Rico] sobre a regra básica que usa
para escolher/seleccionar

colaboradores.

Nesse momento, mais ou menos inesperadamente, a essência do mundo em que vivemos aparece. Num instante, a sua natureza laboral torna-se uma evidência. Vale a pena lembrar, primeiro, a regra em causa: "I don’t buy a service; I buy a result." A seguir, a evidência também se vai tornar

insuportável. Há que entender como, em que sentido, direcção. Na que a própria cena toma imediatamente: veja-se (pela segunda ou terceira vez) as pernas e a boca de Isabella, num espaço - uma espécie de cubo relativamente pequeno - mais simples/íntimo que os espaços dos momentos em que elas já antes tinham sido vistas e, no final da cena, o romance. A partir daqui, deste encontro que foi mediado pela própria Isabella, é o olhar de Isabella que deixa de conseguir disfarçar a desgraça que um romance traz ao mundo do qual - na aparência, em toda a verdade - o filme não mais falará. Ou se casablanca pelo que acontece nos instantes finais de Miami Vice ou se volta ao marxismo.

1) «Each time that it seeks to procure labour power, capital runs into a living body. This last, in itself, does not count for anything from an economic perspective, but is the ineliminable tabernacle of what certainly does matter: "labour as subjectivity". The living body, without any dowry other than pure vitality, becomes the substrate for productive capacity, the tangible sign for productive capacity, the objective simulacrum of non-objectified labour. If money is the universal representative of exchange value, life is the extrinsic equivalent of the only use value "not materialized in a product".»

2) «Saying that, there remains the crucial question: why is life as such taken charge of and governed? The answer is unequivocal: because it forms the substratum time of a faculty, labour power, which possess the autonomous consistency of a use value. The productivity of labour in act is not in play here, but rather

the exchangeability

of

the potential for labour.

By being bought and sold, this potentiality carries the receptacle from which it is inseparable, that is, the living body; more, it shows itself as an accomplished object of knowledge and government (of innumerable and differentiated strategies of power). It remains clear that life, taken as the generic substratum of potentiality, is an amorphous life, reduced to a few essential metahistoric traits.»

3) «Biopolitics is a particular and derivative aspect of the inscription of metahistory in the field of empirical phenomena; an inscription, we know, that historically distinguishes capitalism.»

Hoje sabemos mais: não há o mundo a não ser sob uma forma abstracta e fantasmática (num potencial, diz aqui Marx; espectral, diz noutros lados). A forma de existir que para nós tem aquilo que...

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