By Parveen Adams
All of the members addresses the theoretical questions by means of pursuing a distinct inventive challenge, together with an in depth examine the relation among the picture and the thing in Hitchcock's Vertigo, the sexual aesthetics of Caravaggio, the creative pen of Barthes, and the way Cronenberg's movie Crash services as a sinthome.
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Additional resources for Art: Sublimation or Sympton
It acts u p o n the subject as that w h i c h must be kept present, must be rescued again and again. If it went, what it threatens is not a loss that leads to m o u r n i n g , but rather the loss of a loss that constructed the subject, w h i c h w o u l d lead to collapse. So Scottie's o w n collapse might call up the category of m o u r n ing i n Freud's sense, but it has a difference. W h a t exactly causes his retreat into melancholy? N o t the loss of her as an object, for she had never been an object, had never been the a i m of his desire.
A s she comes nearer the resemblance dis solves, leaving o n l y the similarity of the gray suit. J u d y and we have to endure the knowledge of the real situation. But it also revises the reading of the first film and his relation to M a d e l e i n e . That revision of o u r understanding of Scottie's desire recognizes that what he pur sues is not an object but an image. T h i s f o r m u l a c o u l d still, a l l too easily, be taken to mean that i n terms of the narrative of the first half, he needs to m o l d or select those aspects of M a d e l e i n e that most re semble the image of his lost (maternal) object.
But it is a purely tautological form of reasoning. T h e fact is that the term mother or father s h o u l d be treated not as persons but as functions or posi tions. There must be an alternative account that does not reduce the reality of the series and does not repress the centrality of the image as such. S u c h a n account w o u l d start from a consideration of the very structure of Vertigo as a whole. O n e c o u l d see the first film as pre cisely inviting the reductive interpretation that the second film dis penses with.
Art: Sublimation or Sympton by Parveen Adams