Pornography, nostalgia, montage: a triad of the gaze
Žižek, Slavoj
Why is the pornographic film such an anticlimax? Where lies the power of the nostalgic movie? And what makes Hitchcock's films so 'uncanny? Slavoj Žižek accounts for these diverse effects in terms of ...the Lacanian split between the eye and the gaze. In pornography, for example, the characters on screen do not expose the conditions of seeingness associated with the gaze. On the contrary, by showing too much they "miss" desire. Nostalgia also elides the gaze but in different ways, evoking a spectatorial fascination and identification with the vision of the characters that conceals fascination and identification with the vision of the characters that conceals the split between the eye and the gaze and creats the illusion of 'seeing oneself seeing' that Lacan associates with a Cartesian subjectivity. The gaze and its concomitant feelings of desire and anxiety is elicited in montage, and particularly in the filmic cuts and camera shoots associated with Alfred Hitchcock. Here one becomes aware of a look that is always already there and that sees others from a pointat which it cannot itself be seen.
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