총 36페이지

Morpheus
“Inthefilm,thewordsforcertainobjectsappearastormentedlanguagevariationsbutthisshowsexactly
the power of the signifier over the thing it signifies. There is play and slippage between signifiers that
allows us to create realities of our own. In this way, we all interpret the world in our own singular ways.
Within language, the subject vainly tries to represent itself. The subject is an effect of the signifier, put
into language,” explains Ranger. That way, we can become ourselves rather than just accommodating the
languageofothers,whichhasalwayscomewithunconsciousmeaningorimportancefromthatsideaswell.
Bruce’stransitionalencounteroftherealworld
Scene#3
ⓒDogtooth
▲Bruceprogressestoenterthesymbolicorderoftheoutsideoftheautocratichousehold.
The only child that ever shows any sort of disbelief at anything that happens around her is the elder
daughter, Bruce. At the start, the family members are all nameless but the elder daughter grants herself a
name:Bruce,whichisthenameofthesharkinthemovieJaws,bytellingheryoungersistertocallherso.
SherecognizesthepowerofhavingnamesbyperformingcunnilingustoChristina,whovisitsperiodically
tokeepalidonherbrother’sragingsexhormones,inexchangefortheVHStapes:Rocky4,Jaws.Oddly,the
fatherisunconcernedaboutprovidinganyincestuousmeasurestosatisfyhistwodaughters’sexualdesires,
neglectingtoimagineChristinamighttemptthedaughters.Theelderintroducesthisbodylickingacttoher
youngsister,andatthispointwecanfacethesegirls’infantsexualitybeingdisplayedlikeanimals.
Asthefatherwiseupthattheseuncannybehaviorsaregeneratedfromtheoutsider,hepunishesthevisitor
and Bruce with violence. He fears the outside influence and assign the elder to substitute Christina’s role;
to incest with her brother. This must have been the catalyst for the elder daughter to take actions to leave
the house, detecting that something is going wrong. As Ranger remarks, this phenomenon proves that “in
termsofRSI,itisimportanttorememberthattheRealalwaysreturns.Itusuallytakestheformofviolence,
often physical or emotional. The Real are the things we cannot understand through the rules of language
associatedwiththeSymbolic.”
Thepointofthisalienationisnotalossofwhatonehasbutthevehicletofreedomandthatthegirlmust
speak another language that shows she is alienated from herself. “Without alienation, we remain within
an imaginary circle that allows us no possibility for freedom. But freedom consists always in speaking
someone else’s language. The idea of escaping alienation is the ultimate trap,” explains McGowan. Thus,
thelongtakeofthetrunkwhichinhibitsthegirlbecauseofherlackofknowledgetellsusthat“youarenot
speakingwithatonguethatisnotyourown”maybethemessageofthismeticulouslinguisticproject.
What is it that Lacanian psychoanalysis has to tell us about our real world? Sheila Kunkle, a professor
at the Metropolitan University answers that, “Thinking there is a “real world,” that is somewhere “out
there”beyondourreachtoconceiveofisnotsohelpful;rather,ourvery“realworld,”itselfisincomplete,
filled with contradictions, and accessible to us through fantasies, which frame our desires, and also our
experiencesofenjoyment.”SuchunsettlingfilmslikeDogtoothmakeinquiriesupontheworld,whetheror
notweareencouragingconvenientliesattheexpenseofobvioustruths.TheArgusanticipatesourreaders
tobetheself-seekingcustomerswhograsptheirlivingenvironmentsandcontinueonproductivepursuitsin
theessentialfunctionsoflanguagebeyondthehumandialogue:thesocialorder.
kellykwak@hufs.ac.kr
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www.theargus.org

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