::: Matthew Kirby
A father and son struggle to reunify word and reality, signifier and signified. ::: Click here to read the full text.
What struck me of notoriety in this film was its use of a certain "quilting point" (if we're going to stick with Lacanese). The shifting was obviously in the younger Bloom's discourse, but it did much for what Paul Ricoeur coined about Freud--whom Lacan "reviewed"--Nietzsche and Marx: "Masters of Suspicion"; fantasy is more powerful than truth such that it is fantasy which provides truth with its frame of reference. Perhaps a Lacanian widely acknowledged for his Marxist, Kantian and Hegelian influences, Zizek, would have been inclined to read the functioning of the multiple discourses in Big Fish through this "pont du capiton" or "quilting point", in a similar fashion to his approach of fantasy in The Sublime Object of Ideology.
Of your interpretation, I would be tempted to agree with most of what you have had to say. Though there is the old-hat addage of psychoanalysis to keep in mind: it is better to risk overinterpretation (an excellent recourse to any criticisms in your direction of making use of a psychoanalytic schema). Perhaps it was just plain unluckiness that you missed this notion of a "quilting point" instead opting for a reading of the s/S algorithm.
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