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1、The Quote of Psychoanalysis: Freud & J. Lacan Freud: the anxiety of castration Oedipus complex Psychological complement J. Lacan: Mirror Stage The order of the Imaginary, the Symbolic, the Real第1页/共16页Cases Analysis: Sternberg & Hitchcock Sternberg:许多有关纯粹的恋物窥视癖的例证 pure examples of fetishisti

2、c fi:tiistik Scopophilia ,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

3、 and the formative external structures To 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 Psychoanalysis fascination of film/ pr

4、e-existing patterns of fascination starting point the 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 Psychoanalysis Psychoanalytic theory is thu

5、s appropriated here as a political weapon, demonstrating the way the unconscious of patriarchal society has structured film form.第6页/共16页phallocentrism it 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 presen

6、ce, it is her desire to make good the lack that the phallus signifies.第7页/共16页summaries briefly the function of woman in forming the patriarchal unconscious is two-fold real absence of a penis raises her child into the symbolic (Real order, Symbolic order, Imaginary order) Freuds famous phrase the f

7、rustration experienced under the phallocentric order ultimate challenge: how to fight the unconscious structured like a language第8页/共16页B. Destruction of Pleasure as a Radical Weapon the cinemathe unconscious structures ways of seeing and pleasure in looking. Hollywoodreflecting the dominant ideolog

8、ical concept of the cinema not to reject the mainstream film 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

9、and assumptions第9页/共16页 A politically and aesthetically avant-garde cinema is now possible, but it can still only exist as a counterpoint. The magic of the Hollywood style Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order.第10页/共16页This article will di

10、scuss the interweaving of that erotic pleasure in film its meaning in particular the central place of the image of womanthe intention of this article analysing pleasure, or beauty, destroys it the high point of film history hitherto must be attacked第11页/共16页 Nota reconstructed new pleasure nor intel

11、lectualised unpleasure butto make way for a total negation of the ease and 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-sc

12、opophilic look that is a crucial part of traditional filmic pleasure can itself be broken down three 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 illusion free the look of the came

13、ra into its materiality in time and space free the look of the audience into dialectics, passionate detachment第14页/共16页Further Reading Virginia 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 o