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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 1999.12
- 수록면
- 246 - 263 (18page)
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In this paper, I examine Lacan's concept of love, with that I try to shed light on the psychoanalytic interpretation of some extra-marital love affair movies. According to Lacan, love is something inexpressible and does not have a substance. Love is a product of human effort to compensate for the subject's lack, which is caused by the subject's alienation from his or her own being. Love is a desperate attempt to hide one's lack by simulating the person of love object as objet petit a. Referring to Lacan, Benvenuto maintains that the discourse of love is impossible.
If the discourse of love is impossible, how can a movie claims to speak about love, in other words, to be a discourse of love? Two Korean movies--Jungsa and Jidokhan Sarang--find a solution by giving an alibi of love. These movies present the ethical pretext for the impossibility of extra marital love. Jidokhan Sarang claims that without the ethical barrier, their love could have been perfect. Instead of presenting the discourse of love, the movie titillates the audience with the nostalgia for perfect love. Jungsa represses the union of two lover even at the end of the movie. The lovers had to overcome the barrier of kinship to accomplish their love and the weight of kinship weighs them down even after they left it behind. In the two movies, what comes closest to the discourse of love is the representation of sex. The two movies show the intensity of their love through the intensity of their sex. In this respect, these movies are closer to the discourse of pornography than that of love.
If the discourse of love is impossible, how can a movie claims to speak about love, in other words, to be a discourse of love? Two Korean movies--Jungsa and Jidokhan Sarang--find a solution by giving an alibi of love. These movies present the ethical pretext for the impossibility of extra marital love. Jidokhan Sarang claims that without the ethical barrier, their love could have been perfect. Instead of presenting the discourse of love, the movie titillates the audience with the nostalgia for perfect love. Jungsa represses the union of two lover even at the end of the movie. The lovers had to overcome the barrier of kinship to accomplish their love and the weight of kinship weighs them down even after they left it behind. In the two movies, what comes closest to the discourse of love is the representation of sex. The two movies show the intensity of their love through the intensity of their sex. In this respect, these movies are closer to the discourse of pornography than that of love.
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〈Abstract〉
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