Abstract
The authors argue that the unattainability of the object on the screen that characterises the ontology of cinema, alongside narrative film’s unique techniques, makes it possible for spectators to let the camera inscribe them into a fantasmatic space compatible with an unconscious inscription in the primal scene fantasy, which they conflate with getting access to the Other’s desire. This transgression is enabled only within a careful economy of desire/fantasy, in which the character, as incorporated by an actor, constitutes a ‘filling’ of objet a, meant to cover over its physical absence (the screen’s lack). The analysis of Rebecca (a ‘bodiless-character film’) – an exception that proves the rule – shows how within this economy the role of fantasy in narrative film is the support of desire.
This chapter is part of a research project in process, supported by the Israel Science Foundation.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
On the objects in Hitchcock’s films, see, for example: Žižek ; Dolar .
References
Dolar, Mladen, 1992, ‘Hitchcock’s Objects’, in Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock), ed. Slavoj Žižek (New York: Verso), 31–46
Freud, Sigmund, 1955 [1919], ‘“A Child is Being Beaten”: A Contribution to the Study of the Origin of Sexual Perversions’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. and tr. James Strachey et al (London: Hogarth Press), vol. 6: 175–204
Hitchcock, Alfred, dir., 1940, Rebecca
Hitchcock, Alfred, dir., 1959, North by Northwest
Hitchcock, Alfred, dir., 1960, Psycho
Jonze, Spike, dir., 2013, Her
Kubrick, Stanley, dir., 1968, 2001: A Space Odyssey
Lacan, Jacques, 1992 [1959–1960], The Ethics of Psychoanalysis, The Seminar of Jacques Lacan, vol 6, ed. Jacques-Alain Miller, tr. Dennis Porter (New York: Norton)
Lacan, Jacques, 1998 [1964], The Four Fundamental Concepts of Psychoanalysis, The Seminar of Jacques Lacan, vol 11, ed. Jacques-Alain Miller, tr. Alan Sheridan (New York: Norton)
Lacan, Jacques, 2006a [1958], ‘The Significance of the Phallus’, in Écrits, tr. Bruce Fink (New York: Norton), 575–584
Lacan, Jacques, 2006b [1960], ‘The Subversion of the Subject and the Dialectic of Desire in the Freudian Unconscious’, in Écrits, tr. Bruce Fink (New York: Norton), 671–702
Laplanche, Jean, and Jean-Bertrand Pontalis, 1988 [1967], The Language of Psychoanalysis, tr. Donald Nicholson-Smith (London: Karnac)
Losey, Joseph, dir., 1976, Monsieur Klein
Meiri, Sandra, and Odeya Kohen Raz, 2017, ‘Mainstream Body-Character-Breach Films and Subjectivization’, in The International Journal of Psychoanalysis 98, 201–217
Metz, Christian, 1982 [1977], The Imaginary Signifier: Psychoanalysis and the Cinema, tr. Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti (Bloomington and Indianapolis: Indiana University Press)
Modleski, Tania, 1988, ‘Woman and the Labyrinth: Rebecca’, in The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York: Routledge), 43–55
Sobchack, Vivian, 1994, ‘Phenomenology and the Film Experience’, in Viewing Positions: Ways of Seeing Film, ed. Linda Williams (New Jersey: Rutgers University Press), 36–58.
Žižek, Slavoj, 1992, ‘Alfred Hitchcock, or, the Form and its Historical Mediation’, in Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock), ed. Slavoj Žižek (New York: Verso), 1–12
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Kohen Raz, O., Meiri, S. (2018). Replacement, objet a and the dynamic of desire/fantasy in Rebecca. In: Owen, J., Segal, N. (eds) On Replacement. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-76011-7_23
Download citation
DOI: https://doi.org/10.1007/978-3-319-76011-7_23
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-76010-0
Online ISBN: 978-3-319-76011-7
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)