정신분석적 영화이론의 새로운 가능성에 관하여 = On the New Possibility of Psychoanalytic Film Theory

다국어 초록 (Multilingual Abstract)

Since the Lacanian-Althusserian paradigm in the 70s’ film theory was criticized as a text-centered, formalist, elitist and stoic theory during the 80s, the possibility of constructing psychoanalytic film theory has been doubted. However, with the intervention by Slavoj Zizek and the Slovenian school whose works have focused on the late Lacanian thoughts, new potentials of psychoanalytic film theory have been illuminated again.
The most important move for the new psychoanalytic film theory is to reinterpret the implication of the mirror phase. The old theory, the so-called apparatus theory, supposes spectators as constructed and receptive ones because the spectators interpellated by the film text, mainly by the filmic forms, was believed only to absorb the dominant ideology from cinema while they were seeing a film as if in dreaming. In order to develop this idea, J. Baudry and C. Metz depended upon Lacan’s mirror phase theory, which explains how the seeing subject is divided and alienated because he/she misrecognizes him/herself as unified in front of his/her mirrored imagined image. However, thanks to M. Dolar fostering the mirror phase theory with the conception of “double,” one can think that the double image of the subject is not only imaginary, but also real and symbolic. It means that cinema as one of the representational media can be regarded as imaginary, real and symbolic all at the same time. Here, the focal point is that cinema can be related to the level of the real. Correspondingly, film theory now can move onto Lacan’s later theoretical edifice focusing on the opposition between the symbolic and the real.
Once cinema can be considered as real, it now obtains the status of a mask, which carries the real of the subject’s desire. Now, cinema is not an imitation of the reality, but a screen of the real, competing directly with the Idea. Zizek has shown us how the real appears in films, analyzing the repetitive narrative structure, interface screen in a mise-en-scene, certain camera works and montages exposing the spot of the gaze, the play of accousmetre, characters defined by their desire or drive. With these ways of representation cooperating with the desire of the spectators, the real creates gaps on the sutured surface of diegetic reality. As a result, regarding the intervention of the spectatorship as one of the important elements of signification, the new psychoanalytic theory overcomes the binary opposition between the politics of representation and the politics of spectatorship.

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