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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| Format: | Article |
| Language: | English |
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University of Johannesburg
2022-10-01
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| Series: | Communicare |
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| Online Access: | https://journals.uj.ac.za/index.php/jcsa/article/view/1708 |
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| _version_ | 1832593779487408128 |
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| author | Zelda Potgieter |
| author_facet | Zelda Potgieter |
| author_sort | Zelda Potgieter |
| collection | DOAJ |
| description |
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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| format | Article |
| id | doaj-art-7b39c456af3e4ef3849a57c4dd460d79 |
| institution | Kabale University |
| issn | 0259-0069 2957-7950 |
| language | English |
| publishDate | 2022-10-01 |
| publisher | University of Johannesburg |
| record_format | Article |
| series | Communicare |
| spelling | doaj-art-7b39c456af3e4ef3849a57c4dd460d792025-01-20T08:52:56ZengUniversity of JohannesburgCommunicare0259-00692957-79502022-10-0126110.36615/jcsa.v26i1.1708Lacan’s three orders, the graphe complet and music in film:Zelda Potgieter0Nelson Mandela Metropolitan University 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. https://journals.uj.ac.za/index.php/jcsa/article/view/1708music in filmidentification in filmicLacanian tradition- the Real, the Imaginary and the Symbolic -vector of speech and the vector of drive |
| spellingShingle | Zelda Potgieter Lacan’s three orders, the graphe complet and music in film: Communicare music in film identification in filmic Lacanian tradition - the Real, the Imaginary and the Symbolic - vector of speech and the vector of drive |
| title | Lacan’s three orders, the graphe complet and music in film: |
| title_full | Lacan’s three orders, the graphe complet and music in film: |
| title_fullStr | Lacan’s three orders, the graphe complet and music in film: |
| title_full_unstemmed | Lacan’s three orders, the graphe complet and music in film: |
| title_short | Lacan’s three orders, the graphe complet and music in film: |
| title_sort | lacan s three orders the graphe complet and music in film |
| topic | music in film identification in filmic Lacanian tradition - the Real, the Imaginary and the Symbolic - vector of speech and the vector of drive |
| url | https://journals.uj.ac.za/index.php/jcsa/article/view/1708 |
| work_keys_str_mv | AT zeldapotgieter lacansthreeordersthegraphecompletandmusicinfilm |