反转屏幕:齐泽克论精神分析的电影机器

Reversing the Screen:Zizek on the Cinematic Apparatus of Psychoanalysis

以拉康后期的思想为基础,齐泽克发展了一套电影机器的理论。根据拉康的屏幕模型,齐泽克把凝视概念带入电影研究领域。凝视首先在希区柯克的影片中找到典型的表达,并打破了经典的缝合逻辑。而基耶斯洛夫斯基的影片提供了另一种维持象征秩序的手法,也就是界面。但在林奇的影片里,幻想的双重结构颠覆了界面,把屏幕变成通往创伤之物的窗口。最终,齐泽克的电影机器形成了一个连接想象界、象征界和实在界的回路,为观众保留了一个反意识形态的倒错位置。

Based on Lacan’s late thoughts,Zizek develops a unique theory of cinematic apparatus.Unlike the traditional apparatus theorists,Zizek takes screen,not the mirror,of Lacan as his model,and brings the concept of the gaze as the object into the realm of film study.The gaze first finds its form of expression in Hitchcock’s films,and its anti-identification effect breaks the classical logic of suture.So Zizek sees another method to maintain the symbolic order of film in the works of Kieslowski,that is the interface.But in David Lynch’s films,the double structure of fantasy subverts the interface and makes the screen a window open to the traumatic Thing.At last,Zizek’s cinematic apparatus forms a closed circuit connecting the Imaginary,the Symbolic and the Real,and keeps a place of perversion for the viewers to resist the ideology.