The Body: Its Image and Scientific Desire in Cinematographic Fiction
Trichet, Yohan
The Body: Its Image and Scientific Desire in Cinematographic Fiction - 2014.
15
The logic of scientific discourse necessitates the exclusion of the subject from the unconscious and the unawareness of the impossible position of the scientist. In the course of the centuries, the status of the Other as that which raises the limits of pleasure has evolved. The image of God, which used to fulfil this function, has taken a fall, thus revealing the non-existence of the Other. When dealing with science, fiction is a propitious narrative space for questioning this logic and its consequences: the torment of the scientist and the emergence of a monstrous object. Referring to Frankenstein by Kenneth Branagh (1994) and La piel que habito by Pedro Almodovar (2011), the authors of this article aim to examine how movie fiction deals with these questions that have arisen through the progress of science in the 19th and 21st centuries.
The Body: Its Image and Scientific Desire in Cinematographic Fiction - 2014.
15
The logic of scientific discourse necessitates the exclusion of the subject from the unconscious and the unawareness of the impossible position of the scientist. In the course of the centuries, the status of the Other as that which raises the limits of pleasure has evolved. The image of God, which used to fulfil this function, has taken a fall, thus revealing the non-existence of the Other. When dealing with science, fiction is a propitious narrative space for questioning this logic and its consequences: the torment of the scientist and the emergence of a monstrous object. Referring to Frankenstein by Kenneth Branagh (1994) and La piel que habito by Pedro Almodovar (2011), the authors of this article aim to examine how movie fiction deals with these questions that have arisen through the progress of science in the 19th and 21st centuries.
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