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The Pervert's Guide to Ideology
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The Pervert's Guide to Ideology (2012) More at IMDbPro »

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The Pervert's Guide to Ideology -- Cultural theorist superstar Slavoj Žižek re-teams with director Sophie Fiennes (The Pervert’s Guide to Cinema) for another wildly entertaining romp through the crossroads of cinema and philosophy. With infectious zeal and a voracious appetite for popular culture, Žižek literally goes inside some truly epochal movies, all the better to explore and expose how they reinforce prevailing ideologies. As the ideology that undergirds our cinematic fantasies is revealed, striking associations emerge: What hidden Catholic teachings lurk at the heart of The Sound of Music? What are the fascist political dimensions of Jaws? Taxi Driver, Zabriskie Point, The Searchers, The Dark Knight, John Carpenter’s They Live (“one of the forgotten masterpieces of the Hollywood Left”), Titanic, Kinder Eggs, verité news footage, Beethoven’s “Ode to Joy” and propaganda epics from Nazi Germany and Soviet Russia all inform Žižek’s stimulating, provocative and often hilarious psychoanalytic-cinematic rant.


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Slavoj Zizek (screenplay)
View company contact information for The Pervert's Guide to Ideology on IMDbPro.
Release Date:
1 November 2013 (USA) See more »
Philosopher Slavoj Zizek examines the hidden themes and existential questions asked by world renowned films. Full summary » | Add synopsis »
1 nomination See more »
User Reviews:
"If Stalin gives you love advice, it has to succeed." See more (11 total) »


  (in credits order)

Slavoj Zizek ... Himself

Directed by
Sophie Fiennes 
Writing credits
Slavoj Zizek (screenplay)

Produced by
Sophie Fiennes .... producer
Lizzie Francke .... executive producer
Julia Godzinskaya .... executive producer
Shani Hinton .... executive producer
Katie Holly .... producer
Tabitha Jackson .... executive producer
Rachel Lysaght .... line producer
Martin Rosenbaum .... producer
Michael Sackler .... executive producer
Tanya Seghatchian .... executive producer
James Wilson .... producer
Original Music by
Magnus Fiennes 
Cinematography by
Remko Schnorr 
Film Editing by
Sophie Fiennes  (as Ethel Shepherd)
Production Design by
Lucy van Lonkhuyzen 
Costume Design by
Debbie Millington 
Makeup Department
Gill Brennan .... hair designer
Gill Brennan .... makeup designer
Production Management
Ailish Bracken .... executive in charge of production: Blinder Films
Second Unit Director or Assistant Director
Luke Johnston .... first assistant director: Dublin
Art Department
Deborah Davis .... production buyer: Dublin
Patricia Douglas .... scenic artist: Dublin
Tom Dowling .... construction manager
Irina Eyrun .... stand-by props: Dublin
John Lamon .... carpenter: Dublin
Christy O'Shaughnessy .... painter: Dublin
Martin O'Shaughnessy .... painter: Dublin
Edwin Ryan .... sculptor
Tom Tormey .... rigger: Dublin
Stephen Usher .... carpenter: Dublin
Sound Department
Niall Brady .... dialogue editor (adr editor)
Alan Collins .... sound facility director: ardmore sound
Steve Fanagan .... sound designer
Steve Fanagan .... sound re-recording mixer
Steve Fanagan .... supervising sound editor
Ken Galvin .... adr recordist
Ken Galvin .... sound re-recording mixer
Keith Lindsay .... sound mixer: Dublin unit
Michelle McCormack .... adr editor
Michael Sujek .... sound mixer
Special Effects by
Kevin Nolan .... special effects technician
Camera and Electrical Department
Christine Ayoub .... focus puller: Dublin unit
Peter Delaney .... assistant camera: Dublin unit
Stephen Doyle .... electrician: Dublin unit
Stephen McCarthy .... gaffer: Dublin unit
Ian McGurrell .... grip: Dublin unit
Beth Napoli .... assistant camera: LA unit
Cormac O'Omáille .... focus puller: Dublin unit
Charles Simon .... grip: LA unit
Michael Tummings .... still photographer: Dublin unit
Costume and Wardrobe Department
Gillian Carew .... costume assistant: Dublin unit
Dennis D'Arcy .... tailor
Monica Ennis .... tailor
Breege Fahy .... costume assistant: Dublin unit
Editorial Department
Paul Dawber .... first assistant editor
Cillian Duffy .... on-line editor
Eugene McCrystal .... colourist
Ciara Walsh .... post production supervisor
Music Department
Gary Welch .... music supervisor
Transportation Department
Calvin McDowell .... transportation: LA Unit
Other crew
Eoin Bailey .... stage hand: Dublin unit
Emmaline Dowling .... production assistant
Emmaline Dowling .... production assistant: Blinder Films
Rioghnach ni Ghrioghair .... transcriptions
John Gleeson .... financing & tax advisor
John Gleeson .... section 481 finance
Zoe Graham .... production assistant: P Guide Productions
Carl Hall .... production assistant: Dublin unit
Katie Kitamura .... creative consultant
Hannah Ridyard .... post production intern: P Guide Productions
Kate Rowles .... production coordinator: P Guide Productions
Emily Thomas .... archive researcher
Philine von Guretzky .... additional research
Billie Webster .... production accountant
Andrew Wright .... additional research

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
136 min
Sound Mix:
Canada:PG (film festival rating) | Portugal:M/16 | UK:15

Did You Know?

When Zizek is talking about John Carpenter's movie "They Live", he says that John Nada's best friend's name is John Armitage. However in the film his name is Frank Armitage.See more »
Slavoj Zizek:"They Live" from 1988 is definitely one of the forgotten masterpieces of the Hollywood Left.See more »
Movie Connections:
Features Jaws (1975)See more »
Clocks And CloudsSee more »


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1 out of 1 people found the following review useful.
"If Stalin gives you love advice, it has to succeed.", 13 August 2015
Author: MisterWhiplash from United States

Like The Pervert's Guide to Cinema, the second installment in what one might hope will be a series (though who knows what else the man can say about what else in the world with the medium of cinema and so on), Slavoj Zizek commands the screen in a documentary-cum-performance piece that is him trying to use movies and also propaganda films in this case to illustrate a thesis about Ideology. Of course, ideology can mean a lot of things in the world, so he has to make sure his points come across. And he has a ton of them. But the main one I think is presented right up front (They Live) and then subsequently the final film discussed in depth (Seconds) makes the point about what it means to live your life in a certain way and then for that life to be turned completely upside down.

Whether it's putting on - or fighting a guy for 9 minutes to put on - a pair of sunglasses as an "ideology critique machine", or putting on a new face to get a new identity - what ideology means in this context is... how are we told to exist in society, who are we subservient to or have to look up to, and what does society do to keep the wheels moving? Zizek certainly doesn't pick anything obscure, and of course this is one of the keys to possibly, maybe, bringing in people who have no idea who this man is or what his many philosophy books espouse (i.e. Less Than Nothing, Welcome to the Desert of the Real, etc). In fact he goes more mainstream in some ways than in 'Cinema', which had more art-house directors (Kieslowski, von Trier, Tarkovsky, Haneke). Here it's big guns like Spielberg (Jaws), Scorsese (Last Temptation in a really big set piece, which I'll mention again in a moment, and Taxi Driver), Cameron (Titanic), and stuff like the Dark Knight, The Sound of Music, West Side Story, etc. The main consistent director carried over, at least for a couple of points regarding Beethoven and how to function in the military system, is Kubrick, but then how could he not be.

The effect of this is that we see how in THE most popular cinema of the world, the films that have made by and large the most money, the messages conveyed carry a lot of significance, sometimes of the hidden sort underneath the exterior of high-class entertainment. He juxtaposes this with a movie like The Eternal Jew, which was a Nazi movie to show what the Jewish people were "really" like in society, but making a clear point that is shown: when dealing with a big "other" like a racist regime, you point out the highly intelligent intellectuals and the scummy filth; the enjoyment of life and the need to make enjoyment unattainable for others. In fact this concept of the "Big Other" is a cornerstone of the film. Hell, if you can buy into it, that's what Bruce the Shark is all about in Jaws.

The key thing that carries the film, aside from how Zizek has the most uncanny, strange but fascinating ability to keep one's attention through his screen presence (he looks like a college professor, albeit often put into the clothes and set pieces from the movies as was Perverts Guide part 1), is just the quantity of things to ponder. I've seen the movie three times now and only now feel like I've grasped most of what he's talking about. This is not to say it's too dense on a first viewing so much as to say that you get such a massive spectrum on what society does with its people - how Capitalism and Communism have certain very similar structures, what music has a role in shaping ideology, the figures of single mothers and rioters in Britain respectively (but not by much), and ultimately what Christianity and Atheism have to do with one another.

The Atheism part may be a tough to swallow; this was one of the things that kept me from fully loving the film the first time, not that I didn't get the theory, but it seemed borderline crap. But as I rolled around the concept, particularly with the scene presented from Last Temptation (the crucifixion scene of course), it was provocative and made me rethink how I see what a belief structure is. I don't know if the film will be as deep as it is for everyone, or if it's even as memorable as Perverts Guide to Cinema, which is THE study of David Lynch for, like, all time. But Zizek and Fiennes present an entertaining, sometimes very funny tableau (i.e. the Stalin line) and you get to see certain movies you may have not seen before and may want to once it's done, and so many questions come up: is there any way to change thinking about how we live and function? What do we do when we can't confide in others for fear of the "Big Other" concept? Do all fascist leaders love cats and small children? Things like that.

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