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1、The Quote of Psychoanalysis:Freud&J.LacanFreud:the anxiety of castration Oedipus complex Psychological complementJ.Lacan:Mirror Stage The order of the Imaginary,the Symbolic,the Real 第1页/共16页Cases Analysis:Sternberg&HitchcockSternberg:许多有关纯粹的恋物窥视癖的例证 pure examples of fetishistic fi:tiistik Scopophil
2、ia ,skupfili Hitchcock:同时用两种机制，窥淫癖/恋物窥视癖 both mechanisms of voyeurism vw:j:rizm and fetishistic scopophilia第2页/共16页Goal It is said that analysing pleasure,or beauty,destroys it.That is the intention of this article.To break down-the relationship between the Cinematic codes and the formative external
3、 structuresTo challenged The pleasure provided by the mainstream film.第3页/共16页Psychoanalysis is not the only but an important tool,by examining patriarchy peitri:ki（男权/父权）.with the tools it provides.第4页/共16页A.A Political Use of Psychoanalysisfascination of film/pre-existing patterns of fascinationst
4、arting pointthe way film reflects,reveals and even plays on the straight,socially established interpretation of sexual difference which controls images,erotic ways of looking and spectacle.第5页/共16页a political weapon PsychoanalysisPsychoanalytic theory is thus appropriated here as a political weapon,
5、demonstrating the way the unconscious of patriarchal society has structured film form.第6页/共16页phallocentrismit depends on the image of the castrated woman to give order and meaning to its world.it is her lack that produces the phallus as a symbolic presence,it is her desire to make good the lack tha
6、t the phallus signifies.第7页/共16页summaries briefly the function of woman in forming the patriarchal unconscious is two-foldreal absence of a penis raises her child into the symbolic(Real order,Symbolic order,Imaginary order)Freuds famous phrase the frustration experienced under the phallocentric orde
7、rultimate challenge:how to fight the unconscious structured like a language第8页/共16页B.Destruction of Pleasure as a Radical Weaponthe cinemathe unconscious structures ways of seeing and pleasure in looking.Hollywoodreflecting the dominant ideological concept of the cinemanot to reject the mainstream f
8、ilm moralisticallybut to highlight the ways in which its formal preoccupations reflect the psychical obsessions of the society which produced itto stress that the alternative cinema must start specifically by reacting against these obsessions and assumptions第9页/共16页A politically and aesthetically av
9、ant-garde cinema is now possible,but it can still only exist as a counterpoint.The magic of the Hollywood styleUnchallenged,mainstream film coded the erotic into the language of the dominant patriarchal order.第10页/共16页This article will discussthe interweaving of that erotic pleasure in filmits meani
10、ngin particular the central place of the image of womanthe intention of this articleanalysing pleasure,or beauty,destroys itthe high point of film history hitherto must be attacked第11页/共16页Nota reconstructed new pleasurenor intellectualised unpleasurebutto make way for a total negation of the ease a
11、nd plenitude of the narrative fiction film第12页/共16页It is the place of the look that defines cinema,the possibility of varying it and exposing it.cinematic codes create a gaze,a world,and an object第13页/共16页the voyeuristic-scopophilic look that is a crucial part of traditional filmic pleasure can itse
12、lf be broken downthree looks associated with cinema:the camera as it records the pro-filmic eventthe audience as it watches the final productthe characters at each other within the screen illusionfree the look of the camera into its materiality in time and space free the look of the audience into di
13、alectics,passionate detachment第14页/共16页Further ReadingVirginia Woolf,A Room of Ones Own(London:Hogarth,1929）Helene Cixous,Keith Cohen,Paula Cohen,The Laugh of the Medusa(Chicago Journals,Vol.1,No.4,Summer,1976),pp.875-893 Published by:The University of Chicago Press Sandra M.Gilbert and Susan Gubar,The Madwoman in the Attic:The Woman Writer and the Nineteenth-Century Literary Imagination(New Haven:Yale University Press,1979)第15页/共16页感谢您的观看。第16页/共16页