The Art of the Ridiculous Sublime: On David Lynch's Lost by Slavoj Žižek

By Slavoj Žižek

"The paintings of the Ridiculous Sublime" is to start with the specific studying of David Lynch's "Lost Highway", in line with the premises of Lacanian psychoanalysis. Lynch's particular universe of the 'ridiculous sublime' is interpreted as a simultaneous playful staging and traversing of the basic ideological fantasies that maintain our past due capitalist society. A grasp of reversals, Zizek invitations the reader to reconsider with him effortless assumptions, acquired opinion, and present severe traits, in addition to pose tricky questions about the ways that we comprehend our international and tradition. He bargains provocative readings of "Casablanca", "Schindler's List", and "Life Is Beautiful" within the strategy of analyzing issues as different - and as heavily associated - as ethics, politics, and our on-line world. Slavoj Zizek is senior researcher within the division of Philosophy, collage of Ljubljana, Slovenia. he's the writer of greater than 70 books together with eleven in English.

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Additional resources for The Art of the Ridiculous Sublime: On David Lynch's Lost Highway (Occasional Papers (Walter Chapin Simpson Center for the Humanities), 1.)

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43 Is this “losing the tension” of the fundamental fantasy not another way to say that the subject traversed this fantasy? Of course, as Freud emphasized apropos of the fundamental fantasy, “My father is beating me,” underlying the explicit scene, “A child is being beaten,” that haunts the subject, this fundamental fantasy is a pure retroactive construction, since it was never present to the consciousness and then repressed. 44 Although it plays a pro to-transcendental role, providing the ultimate coordinates of the subject’s experience of reality, the subject is never able to fully assume/subjectivize in the first person singular, and precisely as such, it can be generated by the procedure of “mechani- 46 THE ART OF THE RIDICULOUS SUBLIME cal” variation on the explicit fantasies that haunt and fascinate the subject.

3 See Richard Maltby, “’A Brief Romantic Interlude’: Dick and Jane go to 3 ½ Seconds of the Classic Hollywood Cinema,” in Post-Theory, edited by David Bordwell and Noel Carroll (Madison: University of Wisconsin Press, 1996), 434-459. 4 Maltby, “A Brief Romantic Interlude,” 443. , 441. , 445. 7 Francis Scott Fitzgerald, The Last Tycoon (Harmondsworth: Penguin, 1960), 51. sir, “do not compromise your desire”), six lessons on how to gain or guard happiness by way of compromising one’s desire. The matrix of all six films involves a male hero torn between an idealized woman, his (future) wife, and a temptress who arouses his desire for a passionate adventure.

Such monstrous apparitions are “returns in the Real” of the failed symbolic authority: the reverse of the decline of paternal authority, of the father as the embodiment of the symbolic Law, is the emergence of the rape-enjoying father of the False Memory Syndrome. This figure of the obscene rapist father, far from being the Real beneath the respectful appearance, is rather itself a fantasy formation, a protective shield - against what? Is the rapist father from the False Memory Syndrome not, in spite of his horrifying features, the ultimate guarantee that there is somewhere full, unconstrained enjoyment?

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