break the spell of illusion, and the erotic image on the screen appears directly(wthout mediation)
narrative versimilitude prevents the audience from admitting to the fetishiation because they can claim that they are simply watching a narrative, that this pleasure is the protagonist's and not their own
that of the camera as it records the profilmicevent, that of the audience as it watches the final product, and that of the char-acters at each other within the screen illusion
lookers are the camera, audience and characters (male)
entif
circle back to this. wtf is three dimensional?
Camera technology (as exemplified by deep focus in particular) andcamera movements (determined by the action of the protagonist), combined withinvisible editing (demanded by realism) all tend to blur the limits of screen space.
film is realistic, therefore adds to the audience's sense of control
hose of the more perfect, more complete, more powerful ideal ego con-ceived in the original moment of recognition in front of the mirror
male lead is the audience's ego ideal
nostalgically reminiscent of that presubjective momentof image recognition
being invested in the film's narrative is forgetting your place, which is reminscient of the time when you were still whole with the Real mOther
birth of the long love affair/despairbetween image and self-image which has found such intensity of expression in filmand such joyous recognition in the cinema audience
narcissistic attraction towards the mirror image and simulatneously hatred that you can never be the mirror image is why looking, and watching cinema, is underlaid with pleasure and despair
misrecogni-tion as superior projects this body outside itself as an ideal ego
he recognises the mirror image as a superior, whole version of himself. because he realises that the mirror image is superior and not actually himself, he is alienated from it
projection of the repressed desire on to the performer
the spectator's desire to be looked at (to be erotically desired) is projected onto the performer. the performer is imagined as desiring their erotic validation
memory of maternal plen-itude and memory of lack
object petit a is the absolute wholeness that a subject has lost
it is her desire to make good the lack that the phallus signi-fies
because the woman lacks penis, she must compensate (by being a visual spectacle i assume?)
marine drama iteratively performs inits own way what human knowledge and thecosmos do at different scales
marine movements are an echo of human thinking, and other terrestrial movements