一部小电影，名叫《爱与数学之祭》（Rites of Love and Math）

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观影：web.archive.org/web/20200809082202/https://www.labocine.com/films/rites-of-love-and-math


简介：

电影《爱与数学之祭》模仿三岛由纪夫电影的艺术风格，画面中心位置的装饰品是一幅挂在墙上的大件书法作品，显得非常朴实。在三岛由纪夫的电影中，该书法作品上书写的是shisei（真诚），因为那部电影的主题是真诚与荣誉。

而我们选择的电影主题是真理，因此我们计划在这件书法作品上写上“真理”。不过，我们不是用日语书写，而是用俄语。

“真理”一词在俄语中可用两个词来表示。其中更常见的一个词是“Pravda”，指与事实有关；另外一个词是“istina”，意为更深层次、哲学意义上的真理。例如，“圆桌对称群是一个圆”这句话是“Pravda”，而朗兰兹纲领（在经过证明之后）就是“istina”。很明显，电影中的那位数学家为之献身的真理是“istina”。

在我们这部电影中，我们希望探讨数学知识的道德意义：一个非常重要的公式也有可能会产生负面作用，被居心叵测的人利用。我们以20世纪初的一群理论物理学家为例。这些物理学家一心想了解原子的结构，结果，在一场他们看来纯粹是高尚的科学探索活动中，他们无意间发现了原子能。原子能在为人类做出很多有益贡献的同时，也给人类带来了破坏与死亡。同样，我们在知识求索过程中发现的数学公式也有可能对人类造成伤害。尽管科学家拥有开展科学探索的自由，但是我认为他们也应该承担相应的责任，尽可能地避免自己发现的公式被居心叵测的人利用。在我们这部电影中，那位数学家宁愿放弃自己的生命，也要保护公式不落入坏人之手——文身是他能想到的既可以把公式隐藏好又可以保证公式不遗失的一个方法。

由于我从来没有文过身，因此我必须了解文身的各个程序。如今，人们可以利用机器来文身，但是在历史上（在日本），文身是用一根竹棒制作出来的，耗时更长，也让人更痛苦。有人告诉我，日本现在可能还有使用这种古老技术的文身店，我们在电影中展现的正是这种古老的技术。





电影中要用到的“爱的公式”到底应该选择哪一个呢？这是一个非常重要的问题。这个公式必须足够复杂（毕竟，这是爱的公式），同时，它还应该具有美感，看到它人们便觉得赏心悦目。我们希望向观众表明，数学公式既有内在美，又有形式美。同时，我还希望选用我自己建立的公式。

经过艰苦的“海选”，我选择了下面这个公式：

该公式选自我和我的两位朋友安德烈·罗瑟夫（Andrey Losev）、尼基塔·涅克拉索夫（Nikita Nekrasov）于2006年合作完成的论文“超越拓扑理论的瞬子第一篇”（Instantons Beyond Topological Theory I）。这篇论文长达100页，上述公式是论文中列出的公式（5.7）。

这个公式看上去令人生畏。如果我在电影中把这个公式写到黑板上，并解释其中的含义，那么大部分观众可能会立刻离场。但是，当它以文身的形式出现后，就会引起截然不同的反应。这个公式似乎真的可以触及观众的灵魂，大家都希望了解其中的含义。

这个公式到底有什么含义呢？当时，我们写了一系列论文，讨论借助“瞬子”研究量子场论的新方法，这篇论文是该系列论文的第一篇。瞬子是有显著特点的量子场结构。尽管量子场论可以准确地描述基本粒子间的相互作用，但是无法准确地解释众多重要现象。例如，根据标准模型，质子和中子由三个不可分的夸克构成。在物理学中，这种现象被称为限制作用。但是，其作用原理一直没有合理的解释，很多物理学家相信瞬子是打开这道门的钥匙。不过，在传统的量子场论中，瞬子并不容易理解。

因此，我们提出了一个研究量子场论的新方法，以便更好地理解瞬子的作用。在研究其中一个理论时，我们采用了两种不同的方法去计算它的相关函数。结果，上述公式表明，这两个方法表现出令人吃惊的一致性。当时，我们并不知道这个公式很快就要在电影中扮演“爱的公式”这个角色。

我们的特效师欧丽安·吉劳德（Oriane Giraud）非常喜欢这个公式，但她觉得要是把这个公式制作成文身就太复杂了。于是，我简化了这个公式，最终在电影中它呈现为下图所示的样子。

在电影中加入文身的镜头是为了表现数学研究中的激情。在制作文身时，这位数学家全神贯注，把整个世界都抛在脑后。对他而言，这个公式就是他的生命的全部意义所在。

我们下了很大功夫才完成这组镜头的拍摄。全剧组约30个人通力合作，花了一整天时间，到接近午夜时才完成拍摄。我与扮演真理子的女演员凯伊肖恩·梅（Kayshonne May）真的感到身心俱疲。但是，整个剧组成员都欢欣鼓舞、情绪激动。

* * *

2010年4月，在巴黎自然科学与数学基金会的资助下，电影的首映式在麦克斯·林戴电影院（Max Linder Panorama Theater）举行。这是巴黎最好的电影院之一，首映式也非常成功。各类杂志开始刊登第一波影评，法国《世界报》评价《爱与数学之祭》是“一部极有震撼力的短片，非比寻常地用一种浪漫的眼光去观察数学家的世界”。《新科学家》也评论道：


这是一部非常优秀的电影……如果弗伦克尔的目的是让更多的人了解数学、学习数学，那么他已经如愿以偿了，因为这部电影极有感染力。电影中的“爱的公式”，实际上是一个方程式的简化版，该方程式引自他于2006年发表的一篇题为“超越拓扑理论的瞬子第一篇”的量子场论论文。将其拍成电影之后，有机会看到（即便不能理解）这个公式的人可能会大大增加。




法国流行杂志Tangente Sup认为，这部电影“将激起那些认为数学与艺术及诗歌是从根本上对立的人的兴趣”。这篇文章还引用了赫尔夫·莱宁（Hervé Lehning）的一段话：


对称性与对偶性是爱德华·弗伦克尔数学研究中的重要内容。这些内容与朗兰兹纲领有关，目的是在数论与某些群之间建立联系。这个研究主题非常抽象，但它在实际生活中也有应用，比如密码学……如果说对偶性在爱德华·弗伦克尔的研究中具有如此重要的意义，我们不免会想到一个问题。在爱与数学之间，是否也像电影名字暗示的那样，存在某种对偶关系呢？他的答案非常明确，他认为数学研究的目的就是揭示爱的奥秘。




随后，这部电影在世界各地的电影节上映，其中包括加利福尼亚、巴黎、京都、马德里、圣芭芭拉、毕尔巴鄂、威尼斯……电影公开上映后，我得以观察“两种文化”之间的某些差异。我首先感受到的是文化冲击。在全世界范围内，能够完全理解我的数学研究的人很少，起初只有十几个人。其次，每个数学公式表现的都是一个客观真理，从本质上看，这个真理应该只有一种正确的解读，大家对我的数学研究成果的解读也是一个样。而我们这部电影的观众很多，有成千上万的人，他们都会以自己的方式去理解。

因此，我的理解是，观众必然是艺术创作的一个部分，艺术创作的最后成果也要接受他们的评判。创作者没有改变观众感知的特权，当然，我们在分享观点时也能充实自己，从中获益。

在电影中，我们借助艺术家的感性来讨论理性的数学，以期使这两种文化融为一体。在电影的开头，真理子给这位数学家写了一首情诗。而在电影的结尾，这位数学家在真理子的身上文了一个数学公式，这是他对那首情诗的回馈。因为在这位数学家的心中，这个公式表现的就是爱。公式可以承载情诗所表达的那种激情与感性，我们正是利用这一点来表现数学与诗歌之间的相似性。对于这位数学家而言，这个公式是他的创造性成果，是激情与想象力的产物，是一份爱的礼物，是他写给她的一封情书。大家还记得吧，年轻的伽罗瓦在死亡决斗的前夜写下了他的那些方程式。

但是，她又是谁呢？在我们臆想出来的那个神秘世界中，她就是数学真理的化身[这也是我们把她的名字定为“Mariko”（真理子）的原因，这个词在日语中是“真理”的意思。同时，这也是墙上那幅书法作品上有“istina”字样的原因]。那位数学家对她的爱慕之情代表着他对数学和真理的热爱，表示他愿意为数学、为真理奉献出自己的生命。但是她不能死，因为她身上有他文上的公式，因为她要抚养她与数学家的孩子，因为数学真理是不朽的真理。

* * *

数学可以被视为爱的语言吗？一些观众无法接受“爱的公式”这个概念。有的人在看完电影后对我说：“逻辑与感情有时候会相互排斥，所以我们才会说爱是盲目的。怎么可能有爱的公式呢？”的确，我们经常会觉得情感是不理性的（不过，认知科学家认为，这种非理性的某些方面，其实可以通过数学来描述）。因此，我也认为，我们无法通过公式来描述或解释爱。我讨论爱与数学的联系，并不表示爱可以与数学相提并论，而是要告诉大家数学的内涵远比我们想象的要丰富。至少，数学可以为我们的爱提供理论依据，让我们彼此之间的爱、对周围世界的爱更深刻，也更强烈。

诗人诺玛·法贝尔（Norma Farber）给我们留下了一句很美妙的诗：


不要让我在爱河里懈怠……

让我一次又一次地“触电”。




数学就是让我们“一次又一次地触电”的东西，原因在于数学具有某种精神力量，只不过这种力量隐藏得很深，人们几乎很少使用它。

爱因斯坦说：“每一个认真探索科学知识的人都相信，宇宙的法则中明显包含着某种精神力量，这种精神力量远胜于我们人类拥有的精神力量，在它面前，我们的能力显得十分有限。”牛顿说：“我觉得自己就像一个在海滩上玩耍的孩子，偶尔捡到一块光滑的鹅卵石或一枚美丽的贝壳就乐不可支，但我却没有发现我面前的真理海洋，它正等待着人们去探索与发现。”

我希望有朝一日，我们每个人都能发现隐藏在数学中的这个事实。这样的话，我们就可以把分歧抛在脑后，专心致志地研究可以把我们联系在一起的那些深奥的真理。我们将像在海边玩耍的孩子那样，在发现令人炫目的美、感受到甜蜜温馨的和谐之后惊叹不已，我们也将分享和共同珍藏数学之美。

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hbghlyj 发表于 2024-12-16 09:40
电影中要用到的“爱的公式”到底应该选择哪一个呢？这是一个非常重要的问题。这个公式必须足够复杂（毕竟，这是爱的公式），同时，它还应该具有美感，看到它人们便觉得赏心悦目。我们希望向观众表明，数学公式既有内在美，又有形式美。同时，我还希望选用我自己建立的公式。

经过艰苦的“海选”，我选择了下面这个公式：$\newcommand{\ol}{\overline}
\newcommand{\zb}{\ol{z}}
\newcommand{\wb}{\ol{w}}
\newcommand{\pf}{\int\hspace-4.5mm\backslash}
\newcommand{\p}{{\partial}}$\begin{align*}
\int_{{\mathbb C\mathbb P}^1} \omega F(qz,\overline{q}\zb) &= \sum_{m,\ol{m} = 0}^\infty
\underset{|z|<\epsilon^{-1}}\pf \omega_{z\zb} \ z^{m} {\zb}^{\ol{m}} dz
  d\zb \; \cdot \left. \frac{q^m \ol{q}^{\ol{m}}}{m! {\ol{m}}!}
{\p}_z^{m} {\p}_{\zb}^{\ol{m}} F \right|_{z=0} \\ \label{identity2} &+
q \ol{q} \sum_{m,\ol{m} = 0}^{\infty} \left. \frac{q^m
\ol{q}^{\ol{m}}}{m!  {\ol{m}}!} {\p}_w^{m} {\p}_{\wb}^{\ol{m}}
\omega_{w\wb} \right|_{w=0} \cdot \underset{|w|<q^{-1}\epsilon^{-1}}\pf F \
w^{m} {\wb}^{\ol{m}} dw  d\wb.
\end{align*}
该公式选自我和我的两位朋友安德烈·罗瑟夫（Andrey Losev）、尼基塔·涅克拉索夫（Nikita Nekrasov）于2006年合作完成的论文“超越拓扑理论的瞬子第一篇”（Instantons Beyond Topological Theory I）。这篇论文长达100页，上述公式是论文中列出的公式（5.7）。

论文：arxiv.org/pdf/hep-th/0610149

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转载：https://wap.sciencenet.cn/blog-1721-1183908.html

纹在小腹上的公式

在电影中，弗伦克尔出演男主角，并且与女主角上演了一场“色戒”般的经典床戏——这在学术界相当罕见，除了《生活大爆炸》这种喜剧，很少有科学家出演影视剧并且演床戏。在电影中，弗伦克尔把一个关于爱的数学公式纹在了女主的小腹上。

为什么要在电影中采取纹身这种方式来表述对数学的爱呢？

纹身这种艺术形式起源自日本。弗伦克尔曾经去过日本十几次，深受日本文化影响。在电影筹拍期间，他和格拉夫斯曾跑到日本的电影院找灵感。在那里他们看到了一部电影，名字叫《忧国》，是根据日本著名作家三岛由纪夫（Yukio Mishima）的短篇小说改编的，导演与主演均为三岛由纪夫本人。

爱德华·弗伦克尔认为三岛由纪夫的电影创作方式力量感十足，他希望自己也能仿效三岛由纪夫的方式来创作电影。于是，他找了一位名为凯伊肖恩·梅（Kayshonne May）的演员担任女主角，女主角在电影中名为“真理子”——象征着数学的真理。

电影的大概情节是，一位数学家，也就是男主创建了爱的公式，但他却发现这个公式是一柄双刃剑（类似于描述原子弹爆炸的质能方程E=MC²）：它既可以用来行善，又可以用来作恶。他意识到这个公式必须妥善保管，以免落入坏人手中，于是他决定把它纹身到他深爱的女人身上。

2010年4月，在巴黎自然科学与数学基金会的资助下，这部电影的首映式在巴黎的麦克斯·林德电影院举行。首映式非常成功，也获得了很多媒体的报道——这是电影史上很少见的将数学公式与电影艺术结合起来的作品，更不用说导演与主演还是一个大数学家。

那个纹身的数学公式是什么意思？

该公式选自弗伦克尔和安德烈·罗瑟夫（Andrey Losev）、尼基塔·涅克拉索夫（Nikita Nekrasov）于2006年合作完成的论文《超越拓扑理论的瞬子理论（1）》。

这个看上去很复杂的方程与瞬子有关。

为了理解瞬子，我们先来了解霍奇对偶。英国数学家道格拉斯·霍奇（Douglas Hodge）定义了一个$*$星算子，也叫做霍奇对偶，这个星算子可以把$n$维空间中的$p$形式场转换成一个($n-p$)维的对偶形式场。因此，当这个对偶作用到4维空间上，可以把2形式场转变为另一个$2$形式场（因为$4-2=2$）。因此，这是一个自同构算子。连续作用两次，霍奇算子满足$**=1$，所以这时$*$星算子的本征值是±1。

瞬子由霍奇的学生，著名数学家阿蒂亚等人在Self-duality in four-dimensional Riemannian geometry一文中提出。瞬子与规范场论（简单版本就是电磁场）有关。所谓的瞬子，就是指满足$*F_{ab}=±F_{ab}$这个方程的2形式场——用矩阵的语言来类比，这相当于是满足本征值是±1的“本征矢量”。

在最简单的意义上，瞬子其实研究的是“电磁对偶”，因为霍奇星算子可以把电场与磁场互换。电磁对偶性所产生的群，其实与数学家发现的朗兰兹对偶群是完全一致的。

在这个意义上，女主角小腹上的这个公式与朗兰兹纲领有关——这是数学的大统一理论。对数学家来说，这具有无与伦比至高无上的意义。

hbghlyj

2024/4/28一位IMDB 用户对《爱与数学的仪式》（2010 年电影）的评论

Sam: Next year I will be reading Frenkel's book on Vertex Algebra. I will be thinking about this film the whole time. Especially chapter 3.

Alex: The musical choices are confusing. The transitions are too jarring. Why does the formula of love have integrals? Is it because love is integral?

Stephanie: Disappointing lack of butt. My favorite part of the movie was when it said "its Mathin' time". Oh and she's Japanese btw. This has nothing to do with me being Korean.

Alessandra: What? Like what? Like what the hell you know? I mean I watched and like what did I just watch.

Ezz: Made me proud to be a mathematical physicist. Thanks Ed.

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数学家 Robion Kirby 对电影《Rites of Love and Math》的评论：
TeX文档下载： kirbyreview.tex (5.76 KB, 下载次数: 0)

2024-12-16 20:45 上传

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On 1 December, 2010, I saw a triple feature, Mishima’s Rites of Love and Death, Frenkel’s Rites of Love and Math, with comments by Frenkel himself introducing the first movie, then the second, and finally summing up with questions and answers. I believe the three parts should be seen together; in particular Frenkel’s movie is an homage to Mishima’s, and is best understood when in combination. Frenkel’s comments were interesting, provided pertinent information about the symbolism and links between the movies, and were done with charm and humor.

Mishima was a famous Japanese author and poet who wanted to make a movie and finally did so in 1965. It is based on a historical incident in 1935 during which a band of soldiers, loyal to the emperor, overthrow the corrupt (in their eyes) government. They are at first successful, the emperor is silent, but then he forcefully indicates that the soldiers are to be captured and executed.

Mishima’s short movie takes place on a Noh stage and is described nicely by Lehning. It is a silent movie and the plot is outlined by five scrolls which are unwrapped for the audience to read. There is music accompanying the movie, taken from a 1935 orchestral-only rendition of the Liebestod from Wagner’s Tristan and Isolde, an apt choice. The seppuku is very graphic, as Lehning says, and many of the audience looked away.

Five years after the movie was made, Mishima and a small band of followers took a general hostage and demanded the assembly of the general’s troops so that Mishima could address them. He did so, but he failed to arouse them and only got jeers and disrespect. Mishima then retreated to a room and committed seppuku as foreshadowed by his movie. Mishima’s wife destroyed all prints of the movie (which had been shown worldwide to some acclaim). On her death, it was discovered that the negatives had been stored in a jar of tea leaves, and prints were then made public in 2008. Frenkel saw the movie and got his final inspiration.

Frenkel had wanted to make a movie that would explain the beauty of math in an artistic way. While on leave in Paris, he met a French film director, Reine Graves, and they discussed various possibilities and thought of a “formula for love”. Frenkel then discovered a Russian poem which, translated to English, appears on the scroll that the audience reads. After seeing the Mishima movie, it all came together. Frenkel liked the idea of a Russian mathematician living in Berkeley, collaborating in Paris and making a movie that takes place in a Noh theater. It is international, like math.

Frenkel explained various bits of symbolism. Mishima’s movie has a painting on the back wall of the Noh theater with a Japanese word which could be translated as truth. Frenkel and Graves have an analogous painting with the Russian word for truth, and the Mathematician’s lover’s name, Mariko, means truth in Japanese. Frenkel also uses the Liebestod as the background music, but a version from 1965 (date of Mishima’s movie). The tattooing is done in a frenzy, so as to be finished before the Mathematician is discovered; to indicate this frenzy, the music switches to a rock version of the Liebestod composed by a local musician. In Frenkel’s movie, seppuku is achieved, much less graphically, by the Mathematician plunging the tattoo needle into his heart.

An important part of the evening was Frenkel’s introduction, his explanation of various points, and the question and answer session at the end. It was all done intelligently with humor and an infectious smile.

An interesting sidelight is the controversy which arose previous to this showing. The Mathematical Sciences Research Institute, MSRI, had considered showing Frenkel’s film, in keeping with its occasional sponsorship of events connecting math and the arts. MSRI’s director, Robert Bryant, had read some of Mishima’s works in college and had seen the full length feature film on Mishima by the Hollywood screenwriter and director, Paul Schrader. Bryant, and others at MSRI, had seen both films, and found them uncontroversial except perhaps for the graphic seppuku scene in Mishima’s film. There were positive reviews from Europe, especially after the film was shown at the Fantasy Film Festival (when, where?). But nothing concrete happened until the Berkeley Film and Video Society decided to show Frenkel’s film and rented a movie theater in downtown Berkeley. They also made a short trailer, available on line at the time. MSRI was approached and only then did Bryant agree to MSRI’s cosponsorship.

The trailer contained two short excerpts from the movie, the love-making and the tattooing. Like a poem, the trailer could be interpreted in different ways depending on the viewer’s perspective. In this case, a number of viewers of the trailer were offended, interpreting it as sexist with the Mathematician as male and creator of great math and the lover as merely a female with a belly to be tattooed. On Monday, Nov 22nd, Bryant began to get emails of protest. The emails soon went viral with well over 200 arriving in the next few days. Some pointed out that it could cause female mathematicians to be less likely to visit MSRI in the future. Bryant corresponded at length with the protesters, almost all of whom had seen only the trailer. Eventually he felt that the only suitable response was for him to withdraw MSRI’s cosponsorship. A number of people wrote in to express their thanks.

hbghlyj

导演Reine Graves 与 Edward Frenkel 对电影的评论
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London Mathematical Society Newsletter, September 2010

Rites of Love and Math is a 26-minute colour film which is a homage to the 26-minute 1966 black and white film Rites of Love and Death. The original film was directed by Yukio Mishima, who also starred as a young Japanese army officer. The officer would rather die than execute his friends, who were involved in the failed coup d’état of 1936. He spends his last night making love to his wife, after which he commits harakiri. The original film is of great intensity, with the stylized Noh theatricality heightened by the soundtrack of Tristan and Isolde. In addition, we know that in 1970 Mishima himself participated in a failed coup d’état and committed harakiri.

Edward Frenkel, the co-director of Rites of Love and Math, is a distinguished mathematical physicist at Berkeley. In the film he plays the ’mathematician’ who discovers ’after many years of hard work’ a ’Formula of Love’ so powerful that it can be used for both good and evil.The formula is credibly played by equation (5.7) in Frenkel, Losev and Nekrasov [2]. The ’Forces of Evil’ want to steal the formula. The mathematician spends his last night with his lover (played by Kayshonne Insixieng May) preserving the formula for posterity by tattooing it on her body, and then stabbing himself with the tattooing pen. While the story is ludicrous, the acting is carried off with great conviction, and the bodies are indeed beautiful. (I eschew the obvious pun about the mathematical physique.) The two films should really be seen together, as the modern version is a pastiche of the original. For all its goriness, the original made a far greater impression on me.

Mathematicians feature ever more frequently in films and on TV – the website Movies in Mathematics [3] offers a good selection. By and large, male mathematicians are portrayed as crazies who are smart and lovable, but badly dressed. Likewise for female mathematicians, although they tend to be better dressed. This said, in the film under review, the actors are either very well dressed, or not dressed at all.

My two personal favourite films involving mathematicians are Merry Andrew (1958) with Danny Kaye as a mathematics teacher singing "The square on the hypotenuse of a right triangle is the sum of the squares of the two adjacent sides", and the witty short Measuring the World [1] promoting the English translation of Daniel Kehlmann’s wonderful German novel about Gauss and Humboldt. Gauss is depicted on his wedding night, in the throes of mathematical passion!

Andrew Ranicki
University of Edinburgh

References

1. O. Cheetham, Measuring the World,
   http://www.youtube.com/watch?v=SC6P_5A4OIA

2. E. Frenkel, A. Losev and N. Nekrasov, Instantons beyond topological theory I, http://arxiv.org/abs/hep-th/0610149

3. O. Knill, Movies in Mathematics website,
   http://www.math.harvard.edu/~knill/mathmovies/.

hbghlyj

作家 Kurt Halfyard 对电影《Rites of Love and Math》的评论：

Erotic love and violent death have often been entwined on screen, from Oshima's In the Realm of the Senses to Cronenberg's Crash to Djordjevic's Life and Death of Porno Gang. It seems mated to the screen, as in Godard's famous line, "All you need for a movie is a girl and a gun."  Here the final lovemaking between the mathematician and his lover is fairly cold, and almost posed, at first leading to the belief that Reines and Frenkel had failed to capture the lightning in a bottle of the original.  But the surprise comes from the tattooing, which makes the conventional sex merely seem like foreplay to the ink and integrals which wakes up the erotic (and tactile) possibilities of pure math, itself a form of rapture to those who understand its mysteries (and indeed Frenkel is a Berkeley Mathematics Professor.)  Vivid colours and cautious use of sound give things a fresh flavour.  The orgasm of Kayshonne Insixieng (the lover and) the recipient of the tattoo seems to be a stand-in for a 'eureka!'   

Upon further consideration, the vigour of the final act does indeed echo the original film, it may even be shocking to some to equate mathematical scribblings to wild and dangerous sex in the 21st century as it was for sex and politics (and patriotism) in the 20th century.  Either way, the human race has a beautiful way of fucking itself into oblivion in the name of passion and strife. 

hbghlyj

根据 news.berkeley.edu/2010/11/30/rites/，这部电影最初有两个赞助商：巴黎数学科学基金会（Fondation Sciences Mathématiques de Paris）和美国国家数学科学研究所（MSRI），但早在放映之前，它就触动了伯克利校园的神经。MSRI 主任罗伯特·布莱恩特在网上发布的一封信称，看过这部电影预告片的同事批评这部电影“令人不安、冒犯和/或侮辱女性”，因此 MSRI 于周日撤回了对这部电影的支持。放映将按计划进行。

At this point the story darkens considerably. Early in the week of November 22, I began to get emails from distressed and upset colleagues who had viewed the trailer and found it disturbing, offensive, and/or insulting to women. They reported seeing the trailer as ‘depicting a male fantasy of sexual domination of women’ and ‘sending a message that men do mathematics while women are reduced to passive sex objects’. They asked how MSRI could associate itself with such a trailer and, by implication, such a film, given how MSRI has always worked to welcome and encourage the participation of women in all of its programs at all levels.