Mania Reduction And Jouissance

Most of the previous studies on the films of Shinya Tsukamoto are always limited to his Tetsuo:The Iron Man and other early films,and leaning to emphasis on the Cyborg field,from which is difficult to see the whole aspects of his create sequence.As a symbolic director of the Japanese postmodernist subculture,Shinya Tsukamoto is focused on the theme of "flesh and city",and his consistent adherence to the author's style of expression also provides an all-around analysis possibility to his films.This article first defined what "mania" is in Shinya Tsukamoto's films,then confirmed the noise-reduction in Tsukamoto Shinya's films through three aspects:the disappear of pixilation,the compare in sight and sound from industrial noise to human voice singing,and the changes in the form of time.In the second chapter,through the study of the presentation of the body in the films,the discovery of the relationship between the subject and the power,and the desire of the bodies,the tendency of self-mutilation and the mourning body in the film Vital.In the last chapter of this article,by returning to the discussion of the transforming bodies which are always named Cyborg,to point out the inadequacy of this naming method and rename the body style of "Jouissance" in the perspective of psychoanalysis,and finally placing it into the discussions to the theme of Shinya Tsukamoto's films,make Jouissance promoted into one of the most important features in the films.This article attempts to use the theory of Lacan's psychoanalysis and supplementing with the Deleuze's film theory and the Foucault-Agambian philosophy of life politics in the independent sections as guide to the study of the films,try to uncover the unconscious structure in the text,and as a discussion to the comprehensive studies of Shinya Tsukamoto's films,and makes up for some of the shortcomings of the previous studies.