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 creative pen of Barthes, and the way Cronenberg's movie Crash features as a sinthome.
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Additional resources for Art: Sublimation or Sympton
But i n Vertigo even this relation is out of control and places the question of the name en abime. If we say that Madeleine is "really" Judy, we have to think that both of them are K i m Novak. A n d w h o is she really? The narrative gnaws away at the membrane that separates it from the film's production. The name, like the image, escapes the narrative's capacity to control it. W e have already argued against reducing the image to an original. N o longer s h o u l d an origin be located i n the maternal body, although it is not the case that it is not the maternal body.
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. Ill T h i s relation of the loss of the image and the image of loss is perhaps dramatized by the dead body. B l a n c h o t (1982) maintains that one property of the cadaver is that it is its o w n image: "It no longer enter 20 ART: SUBLIMATION OR SYMPTOM tains any relation w i t h this w o r l d , where it still appears, except that of an image, an obscure possibility, a shadow ever present behind the l i v i n g form w h i c h n o w far from separating itself from this form, trans forms it strictly into shadow" (p.
This is first posed by the narrative and the spectator's relation to it. The meeting w i t h J u d y is the last moment w h e n Scottie and the spectator have the same relation to the knowledge of the plot. The spectator immediately separates from h i m and becomes privileged to the story. O n l y Scottie n o w remains as a survivor of ignorance, u n t i l finally even he detects the story b e h i n d the narrative at the end of the second film. If we accept that the second film is both an analysis and i n a certain way a repetition of the first film, then his pursuit of J u d y becomes a repetition of his pursuit of Madeleine.
Art: Sublimation or Sympton by Parveen Adams