Psychoanalyzing Cinema: A Productive Encounter with Lacan, Deleuze, and Zizek
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The essays within this collection explore the possibilities and potentialities of all three positions, presenting encounters that are, at times contradictory, at other times supportive, as well as complementary. The collection thereby enriches the questions that are being raised within contemporary cinematic studies.
prefigurement of the sinthome. Probably the most thorough attempt is by the veteran Lacanian|Millerian Russell Grigg’s (2008, 119–131) “Absolute Freedom and Radical Change: On Žižek.” This is a version of an article that first appeared in Paragraph (Grigg, 2001). Ed Pluth (2007) has also attempted to ‘reform’ Žižek’s act. Aside from those many ‘debates’ that are scattered throughout journals, which Žižek answers to with equal impunity, there is the nasty spat between him and Ian Parker’s (2004)
optical world ‘gives itself ’ to perception in the pure, diverse play of its refractions. In an explicit reference to Merleau-Ponty’s The Visible and the Invisible, Lacan notes that the “original point of vision” from which the gaze and thus the subject as embodied perception emerge is “the flesh of the world:” “From the toils (rets), or rays (rais), if you prefer, of an iridescence of which I am at first a part, I emerge as eye, assuming, in a way, emergence from what I would like to call the
Symptomatically, in his philosophy of the three suns, Deleuze starts, like Lacan, with the notion that pure light is destructive. Deleuze notes that “an intensity which exceeds your power of being affected is bad [. . .] a blue that is too intense for my eyes will not make me say it’s beautiful, it will perhaps be beautiful for someone else” (ibid.). Quoted from Giorgos Seferis’ poem “On a Ray of Winter Light.” While Deleuze refers to the atomic plane mostly in the context of the realm of
determined voice 75 2.2 The present becoming thin as a mirror 76 2.3 A song and a tear that already exist 77 From Mulholland Drive (2001) directed by David Lynch, Universal Pictures 3.1 A path crossing of Se-hŭi (Park Ji-yeon) and Sae- hŭi (Seong Hyeon-a) in the opening sequence of Time 90 From Time (Shi gan) (2006) directed by Kim Ki-duk, Happinet Pictures 5.1 Manni and Lola 138 From Run Lola Run (Lola rennt) (1998) directed by Tom Tykwer, Sony Pictures Classics 6.1 Arial View,
Real that is already constituted within the Symbolic, or drive that is found at the core of desire. And in terms of repetition, it is not a case of the difference between the Same and the Other, but rather the noncoincidence of the Same with itself. What’s crucial for Žižek (2006) here is not to think of radical contingency as an “ontological openness” (203) or the ability to choose “the correct path” of alternative future realities, but rather the ability to assume “a self-referentiality of