美語狂人雜記

Jacques Marie Émile Lacan (13 April 1901 – 9 September 1981)

圖片來源：Wikipedia

《白鯨記》的精神分析解讀：拉岡的認同和觀眾

一、引言

本文旨在運用精神分析理論，探討拉岡（Jacques Lacan）的概念在電影《白鯨記》（1956）中之應用，該電影由約翰·休斯頓（John Huston）製作和執導，取材自赫爾曼·梅爾維爾（Herman Melville）於1851年發表的同名小說。本研究並探討此一運用與當代電影理論的重要關聯。儘管文獻中不乏對《白鯨記》進行弗洛伊德和榮格（Carl Jung）研究分析的嘗試（例如約翰·哈爾維森、亨利·A·默里和愛德華·E·艾丁格等），但本文目的不在於重複那些主要基於傳統文學方法的研究。由於電影分析需要不同於文學的工具，因此本文試圖以拉岡觀點為基礎進行具體的電影研究解讀，挑戰傳統文學方法的侷限。

正如奧蒙等人（1992年）所強調的，研究電影中的認同，若不涉及精神分析理論，或者研究電影敘事，若不考慮專門用於文學文本的敘事學工具，將不再被相關領域所接受。在此背景下，本文主張，通過聚焦拉岡在《白鯨記》分析中認同角色的作用，可以提供對精神分析理論中該概念多元應用所引起的困惑做深刻理解。此外，本文將重新詮釋弗洛伊德的認同概念，透過拉岡理論的視角進行深入探討，並詳細研究《白鯨記》中與伊斯梅爾為中心的相關特定場景。

同時，本文將探討俄國導演謝爾蓋·米哈伊洛維奇·愛森斯坦（Sergei Mikhailovich Eisenstein）的辯證剪輯方法在電影觀眾中的角色，特別關注蒙太奇的某些層面。因此，通過呈現認同機制並闡明精神分析在電影中的作用，本文旨在揭示相關領域中理論和技術間的衝突所帶來的一些挑戰，並提出進一步研究電影和觀眾的方向。

The Psychoanalytic Interpretation of Moby-Dick:

Lacanian Identification and Spectator

Chih Chien Michael Liu

I. Introduction

The aim of this paper is to apply psychoanalytic theory to elucidate distinctions related to the Lacanian concept in the film Moby-Dick (1956) (produced and directed by John Huston), based on Herman Melville’s (1851) renowned novel of the same title, and its significant connections to contemporary film theory. Although numerous attempts have been made to explore Freudian and Jungian analyses of Moby-Dick (e.g., John Halverson, Henry A. Murray, and Edward E. Edinger), this paper does not aim to recapitulate those studies predominantly grounded in traditional literary approaches. Analyzing films necessitates tools distinct from those used for literary works (Aumont et al., 1992, p. 3). Therefore, the intention to conduct a specific cinematic study without overly relying on conventional literary approaches presents a challenging endeavor, yet it remains the primary objective of this paper.

Aumont et al. (1992) emphasized that it is no longer acceptable to explore identification in cinema without incorporating psychoanalytic theory, or to examine film narrative without taking into account narratological research dedicated to literary texts (p. 4). In this context, I propose that focusing on Lacanian interpretation regarding the role of identification in the analysis of Moby-Dick can offer insightful solutions to certain confusions arising from the diverse applications of the concept within psychoanalytic theory. Furthermore, the Freudian concept of identification will be reinterpreted through the lens of Lacanian theory, with a detailed examination of specific scenes, primarily centered on Ishmael, in Moby-Dick that correspond to it.

Additionally, within the context of montage analysis, a focused inquiry will be undertaken to scrutinize specific dimensions of Sergei Mikhailovich Eisenstein’s (1898-1948) dialectical editing approach and its consequential influence on cinematic spectatorship. Consequently, by presenting identification mechanisms and elucidating the role of psychoanalysis in film, this paper aims to shed light on some of the challenges posed by the antagonism between theories and techniques in relevant fields and propose directions for further studies on film and spectatorship.