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雅克·拉康提出的“镜像阶段”理论不仅在心理学和精神分析学上取得了颇大的成果,也为精神分析电影理论奠定了坚实的基础。学界就“镜像阶段”理论发表了查尔斯·F阿尔特曼的《精神分析与电影:想象的表述》、克里斯蒂安·麦茨的《想象的能指》及劳拉·穆尔维的《视觉快感与叙事电影》等一系列著名的研究文章。在此,本文意图在之前的理论基础上对电影的观影心理进行分析,试图用拉康理论对观影心里进行解读。
Jacques Lacan’s “Mirror Stage” theory not only achieved considerable results in psychology and psychoanalysis, but also laid a solid foundation for psychoanalytic film theory. The academic community published “The Psychoanalysis and the Film: The Representation of the Imagination” by Charles F. Altman on the “Stage of Mirroring” theory, “The Signifier of Imagination” by Kristian Mattz and Laura Murwirt’s “ Visual pleasure and narrative film ”and a series of famous research articles. At this point, this article intends to analyze the cinematic psychology of the movie on the basis of the previous theory, trying to interpret the cinematography with Lacan’s theory.