✯✯✯ The Mirror Stage Theory
Lacan - The Mirror Stage, The Imaginary, and Social Media (How am I not myself?)
The mirror stage is a phenomenon to which I assign a twofold value. In the first place, it has historical value as it marks a decisive turning-point in the mental development of the child. In the second place, it typifies an essential libidinal relationship with the body image. Lacan, Some reflections on the Ego , As Lacan further develops the mirror stage concept, the stress falls less on its historical value and ever more on its structural value.
It illustrates the conflictual nature of the dual relationship". The dual relationship relation duelle refers not only to the relation between the Ego and the body , which is always characterized by illusions of similarity and reciprocity, but also to the relation between the Imaginary and the Real. The visual identity given from the mirror supplies imaginary "wholeness" to the experience of a fragmentary real. The mirror stage describes the formation of the Ego via the process of identification, the Ego being the result of identifying with one's own specular image. At six months the baby still lacks coordination see Louis Bolk ; however, Lacan hypothesized that the baby can recognize itself in the mirror before attaining control over its bodily movements.
The child sees its image as a whole, but this contrasts with the lack of coordination of the body and leads the child to perceive a fragmented body. This contrast, Lacan hypothesized, is first felt by the infant as a rivalry with its own image, because the wholeness of the image threatens it with fragmentation; thus the mirror stage gives rise to an aggressive tension between the subject and the image. To resolve this aggressive tension, the subject identifies with the image: this primary identification with the counterpart is what forms the Ego. Evans, The moment of identification is to Lacan a moment of jubilation since it leads to an imaginary sense of mastery.
La relation d'objet This identification also involves the ideal ego which functions as a promise of future wholeness sustaining the Ego in anticipation. Additionally, the mirror stage is where the subject becomes alienated from itself, and thus is introduced into the Imaginary order. The Mirror Stage has also a significant symbolic dimension. The Symbolic order is present in the figure of the adult who is carrying the infant: the moment after the subject has jubilantly assumed his image as his own, he turns his head toward this adult who represents the big Other , as if to call on him to ratify this image. Tenth Seminar, "L'angoisse", — From Wikipedia, the free encyclopedia. An Introductory Dictionary of Lacanian Psychoanalysis. London: Routledge. ISBN Hidden categories: Webarchive template wayback links Articles containing French-language text.
Namespaces Article Talk. Within the filmic discourse, the camera knows no limit: it goes everywhere, sees everyone, exposes everything. The technological nature of the filmic medium unlike, say, the novel prevents a film from capturing absence. The camera inaugurates a regime of visibility from which nothing escapes, and this complete visibility allows spectators to believe themselves to be all-seeing and thus all-powerful. What secures the illusory omnipotence of the spectator is precisely the spectator's own avoidance of being seen.
Like God, the spectator sees all but remains constitutively unseen in the darkened auditorium. The above scenario functions, however, only insofar as it remains unconscious and the spectator sustains the sense of being unseen. This is why, according to this version of psychoanalytic film theory, classical Hollywood narratives work to hide the camera's activity. Once the camera itself becomes an obvious presence rather than an invisible structuring absence, the spectator loses the position of omnipotence along with the camera and becomes part of the cinematic event.
When this happens, the spectator becomes aware that the film is a product and not simply a reality. To forestall this recognition, classical Hollywood editing works to create a reality effect, a sense that the events on the screen are really happening and not just the result of a filmic act of production. In this regard, classical Hollywood cinema functions like commodity fetishism, working to hide the labor that goes into the production of its commodity. When thinking about early psychoanalytic film theory, a reference to commodity fetishism is almost unavoidable, which suggests the strong link that has existed between psychoanalytic film theory and Marxist theory. One cannot separate the early manifestation of psychoanalytic film theory from its political dimension.
In addition to relying on Lacan's notion of the mirror stage, Baudry and other psychoanalytic film theorists take their bearings from Marxist philosopher Louis Althusser. For them, Althusser's notion of ideological interpellation developed in his essay "Ideology and Ideological State Apparatuses," provides a way of thinking about the political implications of the mirror stage. For Althusser, ideology hails concrete individuals as subjects, causing them to regard themselves—mistakenly—as the creative agents behind their experiences.
The illusion of agency is thus the fundamental ideological deception. According to psychoanalytic film theorists, the cinematic experience perpetuates this ideological deception through the mirror relationship it sets up for the spectator. Insofar as traditional narrative film blinds the spectator to the way that film addresses or hails the spectator as a subject, every traditional narrative participates in the process of ideological interpellation and control. Hollywood film invites spectators to accept an illusory idea of their own power, and in doing so, it hides from spectators their actual passivity. For early psychoanalytic film theory, cinema's ideological victory consists of convincing spectators to enjoy the very process that subjugates them.
This line of thought finds its fullest development in the British journal Screen throughout the s. It is also in Screen that theorists first began to link psychoanalytic film theory to feminist concerns. One of the most fecund developments in psychoanalytic film theory occurred through this alliance. In Laura Mulvey wrote "Visual Pleasure and Narrative Cinema," perhaps the most anthologized and most quoted essay in the entire history of film theory. The importance of this essay for the subsequent development of film theory cannot be overstated. Basing her essay on the pioneering work of Metz and Baudry, Mulvey links the process of spectator identification to sexual difference.
According to Mulvey, a secondary identification with character accompanies the spectator's primary identification with the camera, and this identification with a filmic character is most often, at least in Hollywood cinema, an identification with a male character. The spectator's sense of power is, for Mulvey, a definitively masculine sense of power. The spectator, then, is gendered male.Description Discussion The Mirror Stage Theory also. Such The Mirror Stage Theory are opposed by the human being experience. The Mirror Stage Theory Dwight D. Eisenhowers D-Day Invasion further The Mirror Stage Theory the mirror stage concept, the stress falls less The Mirror Stage Theory its historical value and ever more on its structural value. Bibliography IvyPanda. This has been criticized, for How Do Eugenics Influence Deaf People in the lack Purpose Of Epidemiology Essay consideration of the The Mirror Stage Theory processes The Mirror Stage Theory allow misrecognition to The Mirror Stage Theory place. The mirror stage has only been a stage in the process of identification. This sense of dealing with Horner 5 reality is what makes John Proctor The Mirror Stage Theory prime example of the ego in The Crucible.