- Lacan, 1977
-building on Froid's work of psychoanalysis and the subconscious (sexual v violent)
- identity and self image
-reflection on reality / fantasy
-occurs in childhood development 6-18 months
-recognises themselves. Identity with that image they see
-representation not actuality -fantasy / fake / hyper reality / distortions
How it applies to cinema / spectatorship
- voyeuristic act
- reflections on reality and fantasy
- suppressed desires = fantasys
- the camera = power and illusion
- it gives the illusion of power to the spectator, the camera shots show everything because you are there
-the camera goes everywhere - it follows everyone - a god like perspective - all watching all powerful
- film gives you the illusion of God like qualities: omnipotence all powerful and omnipresent everywhere
-3rd person perspective in film seeing everyone and everything
-camera = potent Phallus
-CHN has been designed to hide the voyeuristix approach of the camera = immersive
-breaking continuity editing (jump cuts) shows the mirror stage and identity - finger bleeding - stops and make you question / irrationalise
- The mirror stage is about the expression of the subconscious
Godlike powerful perspective on film : 3rd person and continuity edition
An illusion of who you think you might be
Your suppressed ideas and fantasies empowering you
Analyse black swan - infer meaning
-black swan deviates from 3rd person. It challenges the Godlike perspective of 3rd person. Filmed in 1st person because we see her hallucinations
-self image is fragmented
- godlike perspective = power = 1st person perspective = no power = Nina has no power
Synthesis - explain / justify / arguing - different interpretations avaliable - director = preferred reading. (Dominant reading of the film vs alternative reading of the film)
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