The Love Of The Mirror, The Symbol Of The Pseudo And Gaze Of The War

Based on Lacan’s classical theory of the three orders and the notion of the gaze, this paper makes an effort to interpret movies directed by Tsai Ming-liang, with a few features found in them. They are as follows.(1)Love of abnormal mirror, that is, treating the imaginary order as vague and a game.The imaginary recognition of figures in his movies is mixed with uncertain elements such as vagueness and game rather than perfect or self-sufficient, which is in much accordance with Lacan’s misconception of imaginative recognition.(2)The disapproval of symbols, attempting to disintegrate and satirize the symbolic order. Tsai’s movies boasts of a hint of disdain and shows an irony attitude towards thesuperfacially perfect symbolic order via means of expiry of symbols and the collapse of order.(3) The disaster of gaze, meditating with and approaching the real order. This is also the breakthrough made in this paper. Movies of Tsai is full of metaphors/metonymy and identification which constantly approach the inner core in the real order during the meditation with the real order, ie, the gaze of little object a.