John Cassavetes’ Shadows : The Destruction of the Imago in Cinematic Identification
Hollywood narrative cinema tends to create meaning through a careful organization of central signs that projects a unified but imaginary reality. This article focuses on John Cassavetes’ challenge and deconstruction of such conventionalism. Using Lacan’s “Mirror Stage” along with Heath, Mulvey, and...
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| Formato: | Artículo artículo |
| Lenguaje: | Inglés |
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Universidad de Buenos Aires. Facultad de Psicología. Instituto de Investigaciones Psicológicas. Departamento de Etica, Política y Tecnología
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| Acceso en línea: | http://www.aesthethika.org/IMG/pdf/Ortegav1n2.pdf https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=aest&d=1_2_2005-1_2_4_html |
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| Sumario: | Hollywood narrative cinema tends to create meaning through a careful organization of central signs that projects a unified but imaginary reality. This article focuses on John Cassavetes’ challenge and deconstruction of such conventionalism. Using Lacan’s “Mirror Stage” along with Heath, Mulvey, and Metz psychoanalytic analysis of the cinematic code, the author examines how Cassavetes destroys the process of cinematic identification in his first feature film, “Shadows.” Arguing for liberation from coherent reflections of reality, Cassavetes encourages both his characters and viewers to identify with multiples images that defile the structuring totality of the Imago. |
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