Art: Sublimation or Sympton by Parveen Adams

By Parveen Adams

All of the members addresses the theoretical questions by means of pursuing a distinct inventive challenge, together with a detailed examine the relation among the picture and the thing in Hitchcock's Vertigo, the sexual aesthetics of Caravaggio, the inventive pen of Barthes, and the way Cronenberg's movie Crash features as a sinthome.

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W e are concerned w i t h a more savage and less availing account than that, w h i c h has the image being a remainder i n the absence of the object. F o r what is crucial to the definition of Scottie's image is the role that is played by loss rather than absence, i n relation to the image. " Indeed I have no idea what a l o s t image" might be. But i f we start w i t h Scottie's typi­ u cal act of d i v i d i n g an image from an object, or an image of an image from an image, and so o n , we can see that he w o r k s w i t h i n the field of images that have been cut out of objects.

Strangely, this p r o d u c e s t h e effect o f a n o e d i p a l i d e n t i f i c a t i o n , as i f h e a n d M a d e l e i n e a r e j o i n e d t o g e t h e r b y t h e r e ­ markable b u t ultimately contingent link o f hair. T h i s type of identi­ T H E INSISTENCE O F T H E IMAGE 17 fication tends to g r o u n d itself i n the past, and often psychoanalytic interpretation colludes w i t h this. But the real relation is that the "past" is a field of effects whose origin is fully w i t h i n the present.

In the second film he is c o m p e l l e d to resurrect the "image" by mortifying an object i n a m a d labor that seems frequently i m p l a u s i b l e , even t h o u g h the audience k n o w that Madeleine and J u d y share one and the same body, that of K i m N o v a k . The desperate fashioning of Madeleine out of J u d y acts itself out at the level of object, as a tragedy for her. She is erased i n the name of r e p r o d u c i n g Madeleine, w h o yet was no one else. She is trapped i n a story that can be neither undone nor abandoned.

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