Aanalysis Of The (?)i(?)ek‘s Materialism Theory On Film

The article tries to summarize the Zizek’s cinematic theory in materialism theory.Zizek’s materialism,which is the integration of Hegel’s dialectics and Lacanian after deconstruction,is essentially different from Mark’s.The “Thing”Zizek said is a concept in psychoanalysis.Amid in the Real,it refers to the original desire or sexual drive prohibited by human beings,that is the incest desire for one’s mother,however,this kind of desire can’t be satisfied but only to be evinced by symbolic way.Some failure is inevitable in the course of Symbolization,and some of the surplus,which is the “Thing” itself,are to be produced.It is this surplus that maintains the desire of the subject.The “Thing” take advantage of the fact that subject produces desire and return to the Real of death.The Real is a boundary,in which the Thing is the tip of the iceberg,but the only way of subject to understand the Real is by the means of the “Thing”.In addition,this dialectics is not the orthodox Hegel’s dialectics,which emphasizes“Thesis-Antithesis-Synthesis”,while it emphasizes negativity and concrete dialectics.The dialectic process of Zizek actually is the direct leap from individuality to universality by omitting the middle particularity.In every stage of the dialectics,the universality of linear narrative in movies is always tarnished by one of the elements(exception),thereby the universality becomes part of the exception.Therefore,Zizek’s dialectical materialism theory on movie is the theory,which emphasizes the incorporation between the universality of linear narrative in movies and the paradox of exception.This exception not only overturns the narrative universality,but makes it possible.As an original oppression,the Real often comes back in the movie and brings traumatic injure to the hero or the heroine.The movie,as a virtual narration,is the most suitable place for its return,because the Real often appears in the delusional face.This paper clarifies thedefinition,the character of the Real and shows the confronting with the subject based on the Real of Thing.Because the trauma of the Real,the typical detective movies have become such a genre.The representative of the Real of Thing in vision and audition are staring and phonism.Staring means that the subject’s desire is triggered while watching.This spot defies all the signals and makes the subject to the object.It breaks the original distance of watching and is then surrounded by the views.The sound of phonism is the sound without the matter.The watchers can’t find the origin.It is floating like a ghost.As a negative existence,it breaks the inner balance of the subject.It splits the unity of the identity of the subject.However,as an infinite automatic repetition,it is also filled with a pleasant sensation of totalitarianism.From the aspect of feminism,the Woman is the best representor of Thing.The femme fatale in the black movies,however,destroys the man in the face of the Woman,which ascertains the saying that “the Woman does not exist.” No woman fits completely with the man’s desire,because there is always a distance between the delusional and the experienced woman.The experienced woman,is only noblized in the place of Thing.Once she leaves the place,she will become ordinary objects.If the man is too close to the delusional woman,then he will die.This logic also stands for the noble woman in the movie.Just because enjoying delusion woman is impossible,court love does also not exist.In fact,the ideal sexual relationship is impossible,because there is the Real,the traumatic core.Therefore,it has to be covered by delusion.Whereas,the representation of four sexual scenes in the movie shows the mysterious relationship between delusion and the Real.Zizek believes the standard suture theory is impossible,so he exlains the exception of linear narrative through the short circuit among three movie narrative logics: the universal and its exception;the suture and interface;the subject and object.What’s more,he uses this impossible satured exception to reverse the standard Hollywood suture theory.At the end of this paper a Zizek style analytical framework is inducted through Zizek’s detailed analysis of Kieslowski ’ s movie texts.This analytical framework is a dialectical analysis with real interface as its core.