Abstract

Luis Buñuel’s notable Mexican film El ángel exterminador (1962 El ángel exterminador. 1962. Directed by Luis Buñuel. Producciones Alatriste, Uninci, and Films 59. [Google Scholar]) and his less familiar Mexican–French film La Mort en ce jardin (1956 La Mort en ce jardin. 1956. Directed by Luis Buñuel. Films Dismage and Producciones Tepeyac. [Google Scholar]) coincide in their interest in portraying overbearing spaces of entrapment within which customs and rules of order reach points of exhaustion. With readings informed by elements of Lacanian thought, this paper explores the emergence of a messy, defective law and its implications for the mediatory qualities of language and the experience of subjectivity. I begin by arguing that the films make use of failures in communication to disrupt the paternal myth and the law of the signifier as these concepts are discussed in Lacanian thought. I then examine how these same disorienting forces also affect the imaginary support of the unified subject: Buñuel’s camera often reduces the prefigured image of subjects into piecemeal assemblages of partial objects or blends these images with surroundings. This paper concludes with a discussion of how El ángel generates visual lacunae that respond to this disorder. Unlike in La Mort, which portrays an authority that attempts to impose order in response to these gaps, El ángel produces sense through them, in a function understood by the term “extimacy.” This concept describes a foundation that is simultaneously intimate and exterior, and it is crucial to affirm the singularity of the subject before the mechanical operations of the signifier.

摘要

路易斯·布努埃尔 (Luis Buñuel) 著名的墨西哥电影El ángel exterminador ( 1962 天使灭绝者。1962 年。由路易斯·布努埃尔执导。Producciones Alatriste、Uninci 和电影 59。 [谷歌学术搜索] ) 和他鲜为人知的墨西哥-法国电影La Mort en ce jardin(1956 La Mort en ce jardin。1956 年。由路易斯·布努埃尔执导。电影 Dismage 和 Producciones Tepeyac。 [谷歌学术]) 他们的兴趣一致，描绘了习俗和秩序规则达到耗尽点的专横的陷阱空间。通过拉康思想元素的阅读，本文探讨了混乱、有缺陷的法律的出现及其对语言的中介性质和主观性体验的影响。我首先争辩说，电影利用交流中的失败来破坏父亲的神话和能指法则，因为这些概念在拉康思想中得到了讨论。然后，我研究了这些相同的迷惑力如何影响统一主体的想象支持：Buñuel 的相机经常将主体的预想图像缩小为部分对象的零碎组合，或将这些图像与周围环境混合。本文最后讨论了如何El ángel产生视觉缺陷以应对这种疾病。与《死神》中描绘的权威试图强加秩序以应对这些差距不同， 《天使》通过这些差距产生了意义，其功能被称为“极端性”。这个概念描述了一个既亲密又外在的基础，在能指的机械操作之前肯定主体的独特性是至关重要的。