《奥菲斯》:镜像中游离的自我

Orpheus: The Astray Ego in the Mirror Image

《奥菲斯》是法国导演让•科克托将俄耳甫斯神话结合现实社会背景进行的现代化改编,延续了科克托前作中的超现实主义风格,并入围第11届威尼斯电影节金狮奖。镜子在影片中扮演了重要的角色,不仅作为道具连接了生与死两个世界,也作为一种意象象征了主人公奥菲斯在遭遇创作瓶颈期时自我的分裂与迷失。文章以拉康的镜像理论为切入点,对影片中主人公对自我的认知与探索进行分析,在剖析影片角色间镜像关系的基础上,进一步解读了主人公对于幻象中自我形象的迷恋,以及在追寻自我的过程中造成的主体死亡悲剧,从而总结出主体认同的自我是不存在的空无,只有正视现实,处理好现实与幻想之间的关系,才能摆脱自我认同的困境。文章将影片所表达的主旨与拉康的理论观点相结合,旨在丰富影片的解读空间,也为影视创作中对自我这一主题的表达提供参考。

Orpheus is a modern adaptation of the myth of Orpheus by French director Jean Cocteau, com-bined with the real social background, which continued the surrealistic style in Cocteau’s previous works and was shortlisted for the Golden Lion at the 11th Venice Film Festival. The mirror plays an important role in the film, not only connecting the two worlds of life and death, but also as an image to symbolize the division and loss of Orpheus when he encounters the creative bottleneck period. The article pulls Lacan’s Mirror Theory as the breakthrough point, interprets the protagonist’s in-fatuation with the self-image in the illusion, and further interprets the protagonist’s infatuation with the self-image in the illusion and the tragedy of the death of the subject in the process of pur-suing the self, on the basis of analyzing the mirror relationship between the film characters. Thus, it concludes that the ego of the subject is a nonexistent emptiness. Only by facing reality and dealing with the relationship between reality and fantasy can we get rid of the dilemma of self-identity. The article combines the theme expressed in the film with Lacan’s theoretical viewpoint, aiming to en-rich the interpretation space of the film, and also provides a reference for the expression of the theme of ego in the film and television creation.