TAILIEUCHUNG - “Visual Pleasure and Narrative Cinema.”

Once this has been achieved, her meaning in the process is at an end, it does not last into the world of law and language except as a memory which oscillates between memory of maternal plenitude and memory of lack. Both are posited on nature (or on anatomy in Freud's famous phrase). Woman's desire is subjected to her image as bearer of the bleeding wound, she can exist only in relation to castration and cannot transcend it. She turns her child into the signifier of her own desire to possess a penis (the condition, she imagines, of entry into. | Mulvey Laura. Visual Pleasure and Narrative Cinema. Film Theory and Criticism Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York Oxford UP 1999 833-44. 832 FILM PSYCHOLOGY SOCIETY AND IDEOLOGY it must aim radically towards a kind of distraction which exposes disintegration rather than masking it. 36 As Hansen has indicated Benjamin s analysis of shock has a fundamental ambivalence moulded certainly by the impoverishment of experience in modem life but also capable of assuming a sưategic significance as an artificial means of propelling the human body into moments of recognition. 37 The panic before the image on the screen exceeds a simple physical reflex similar to those one experiences in a daily encounter with urban traffic or industrial production. In its double nature its transformation of still image into moving illusion it expresses an attitude in which astonishment and knowledge perform a vertiginous dance and pleasure derives from the energy released by the play between the shock caused by this illusion of danger and delight in its pure illusion. The jolt experienced becomes a shock of recognition. Far from fulfilling a dream of total replication of reality the apophantis of the myth of total cinema the experience of the first projections exposes the hollow centre of the cinematic illusion. The thrill of transformation into motion depended on its presentation as a connived illusion under the control of Che projectionist showman. The movement from still to moving image accented the unbelievable and extraordinary nature of the apparatus itself. But in doing so it also undid any naive belief in the reality of the image. Cinema s first audiences can no longer serve as a founding myth for the theo-reticalisation of the enthralled spectator. History reveals fissures along with continuities and we must recognise that the experience of these audiences was profoundly different from the classical spectator s absorption into an empathetic narrative. .

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