从拉康的镜像理论看电影镜子功能

从拉康的镜像理论看电影镜子功能

拉康的镜像说中，6到18个月的幼儿（尚无法有效控制自己的碎裂身体）在镜子中看到自己的统一影像，即产生一种完形的格式塔图景。这个完形的本质即是想象性的认同关系。这不是黑格尔所说的另一个自我意识，而是“我”的另一个影像。“它的对方”一开始就变成了它的影像－幻象。拉康的语境中，这是一种本体论上的误指关系。拉康清醒地意识到实体性主体的虚无，我觉得，拉康的伪自我理论很深地承袭了黑格尔的主奴辩证法的内里构架，同时却祛除了“从苏格拉底到黑格尔所实现的自我意识的辩证法”。黑格尔《精神现象学》中的那种“自我意识是欲望”，欲望是对另一个自我意识的对象性关系，以及深化于自反性的主人与奴隶的辩证法关系是拉康镜像关系的真正基础。这不是一个自我意识面对另一个自我意识，不是一个实体的主人对另一个实体的奴隶的征服，这是幻象与空无的关系对“我”的奴役，这才是拉康镜像说的本相。

拉康进一步表示所谓的镜像并不只限于真实的镜子，也包括周遭他人的眼光与其对自我的反映，主体在成长过程中的认同建立是经过各种不同的镜像反射，这也包括与周遭他人的互动与意见来确立，但是他人的眼光以及各种自我反映的镜像总是不一致的，在婴孩时期与成长过程中所经历过的欢欣兴奋的欲望驱使下，主体总会局限地、误认地、满足地认同某一个镜像，然后当这个认同破灭之后，又会更期待下次理想化的认同。于婴儿时期的镜像阶段之后，所余存的想象的与现实的角力与辩证，就这样反复出现在人们的生活里。在内在世界与外在世界之间建立起某种联系，越来越脱离那种原始的形式（理性之我），并且永远无法还原。

一张透明的玻璃板,光线本来能够自由穿过,但如果在它的一面涂上反光材料,入射的光线就会受到阻挡,就有了一个“返回”,镜子就是由于这种“阻隔”和“返回”功能而形成了。毫无疑问,电影镜像的真实主体是来源于现实生活中的活生生的人和物。但是如果把现实中的“我”与影片中的像看作是隔着一面大镜子主体与像,我们会发现电影镜像大大异于普遍意义上的镜像。除了电影镜像的视觉暂留性,电影镜像所反映的主体本身就带有虚拟性,“他”是经过对现实中真实主体的模仿和加工而成的。就镜像主体而言,“他”本身就是真实主体的虚像,因此可见电影镜像是现实中真实主体虚像的虚像,是像中之像。

将弗洛伊德和拉康的理论“移植或‘嫁接’到电影研究上来,采用的是一种类比的方式。观影主体与做梦主体的类似、电影与梦境的类似、观影情境与镜像阶段(银幕=镜子)的类似······

Lacan's mirror said, 6 to 18 months of children ( can't be effective to control his broken body ) to see themselves in the mirror of the unified image, which produce a Gestalt Gestalt image. The gestalt of the essence that is imaginative identity relation. This is not what Hagel said another self-consciousness, but" I" another image. " The other" began to become its image - the phantom. Lacan's context, this is an ontological error refers to the relationship. Lacan soberly realize substantive entity nothingness,

I think, Lacan's false self theory deeply inherited Hagel's Dialectic of master and slave inside frame, while at the same time, dispel the" from Socrates to Hagel realizes the self awareness of dialectics". Hagel" phenomenology of spirit" of the" sense of self is the desire, desire" is another self awareness of object relations, and deepen to the reflexivity of master and slave dialectic relationship is the real foundation of Lacan mirror image relationship. This is not a sense of self in the face of another self consciousness, not an entity 's host to another entity slave

conquest, this is the empty relation on the" I" of slavery, it is said the Lacanian mirror.

Lacan further said the so-called mirror is not limited to the true mirror, also include others eyes instead of self reflection, subject in the process of growth of identity was created through a variety of different mirror reflection, this also includes and others to establish the interaction with the observations, but in the eyes of others and self reflection the mirror is not always consistent, in the baby period and in the process of the growth of experienced joy excited the desire driven, subject always limit, misidentification, meet the recognition of a mirror, and then when the identity after the collapse, and look forward to the next ideal identity. In infancy the mirror stage, the remainder of the imagination and reality to wrestle with dialectics, so repeatedly appear in people's life. In the inner world and the outside world to establish a relation, more and more from the original form ( rational

I ), and never restored.

a piece of transparent glass plate, the light was able to freely pass through, but if it's one side coated with a reflective material, the incident light will be blocked, there is a" return", the mirror is due to this" barrier" and" return" function and the formation of. No doubt, the film mirrored real subject is derived from the real life living people and objects. But if the reality of the" I" and the film like as separated by a large mirror body and the like, we will find the film images greatly different from the general sense of the mirror. In addition to the film mirrored the persistence of vision, the film mirror reflects main body itself is a virtual," he" is the reality of true subject of imitation and processed. On the mirror body," he" itself is the real subject of virtual image, hence film mirror reality is real subject virtual image virtual image, like the as.

Will Freud and Lacan's theory of" transplantation or ' grafted ' to film studies, is used in an analog mode. Viewing the subject and the dreaming body similar, film and dreams, the similar viewing situation and the mirror stage ( = similar screen mirror ),