Lacan’s three orders, the graphe complet and music in film:
This article engages with the Lacanian tradition of film theory in order to suggest some of the ways in which music in film may be understood to contribute significantly to subject identification in filmic experience. Two points are argued: 1) that Lacan’s distinction between the three orders - the...
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| Main Author: | |
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| Format: | Article |
| Language: | English |
| Published: |
University of Johannesburg
2022-10-01
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| Series: | Communicare |
| Subjects: | |
| Online Access: | https://journals.uj.ac.za/index.php/jcsa/article/view/1708 |
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| Summary: | This article engages with the Lacanian tradition of film theory in order to suggest some of the ways
in which music in film may be understood to contribute significantly to subject identification in filmic
experience. Two points are argued: 1) that Lacan’s distinction between the three orders - the Real,
the Imaginary and the Symbolic - may usefully be understood in musical terms, and, 2) that the
two vectors of Lacan’s graphe complet – the vector of speech and the vector of drive – provide
meaningful insight into the manner in which the three orders shape filmic musical experience.
Analysis of Miklos Rosza’s score for Alfred Hitchcock’s Spellbound (1945) serves to illustrate such
insights.
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| ISSN: | 0259-0069 2957-7950 |