无声胜有声——拉康镜像理论视域下解读电影《海东四少》  

Silence Speaks Louder than Words-An Interpretation of the Film Four Heroes of Haidong from the Perspective of Lacan’s Mirror Stage Theory

作　　者：汪帆 梁潇 Wang Fan;Liang Xiao(The School of Film And Television Art,Hebei Institute of Communications,ShiJiaZhuang,China)

机构地区：[1]河北传媒学院影视艺术学院,河北石家庄051430

出　　处：《社会科学论坛》2025年第1期198-207,共10页Tribune of Social Sciences

摘　　要：公益电影《海东四少》将目光聚焦于少数民族中的特殊人群,讲述了残障人群以残缺之身面对命运不公,勇敢地迎接生活挑战并收获圆满人生的故事。他们作为社会边缘人物却热爱故土、守护家园,逐渐融入社会并被社会所接纳认可。这部电影描述了社会边缘人物在生活中不断进行自我身份认同的过程,在多个“他者”之间,“自我”形象不断变化最终找寻到理想自我。运用拉康的镜像理论对电影《海东四少》进行解读,探寻主体在小他者之镜,从残缺到完整的自我形象塑造;在大他者场域,通过对象征秩序的认同,完成从孤儿到英雄社会主体位置的确立;观众在观影中将自身欲望投射到银幕“他者”,获得理想化自我的满足;电影制作者在影片创作过程中结合自我经历,将情感倾注于银幕“他者”,完成理想自我的实现。The Public welfare film FourHeroesofHaidong focuses its attention on specific groups of ethnic minorities,which tells the story of the disabled people facing the injustice of fate with the disabled body,bravely meeting the challenges of life and harvesting a complete life.Though marginalized in society,they cherish their homeland and protect their communities,gradually integrating into society and gaining acceptance and recognition.The film describes the process of marginalized characters constantly making self-identity in their life,endlessly changing their self-image amid multiple“others”,finally finding their ideal self.Based on Lacan’s Mirror Stage Theory,the thesis unscrambles the film to study the subject develop the self-image which evolves from imperfect to perfect through the mirror-image of others.Social position of the subject has been established as a hero by approving symbolic order in other field,which was regarded as an organ at first.The audience project their own desire into the other of the screen when they are watching movies,and obtain the satisfaction of idealized self.Meanwhile,the filmmakers,combining their personal experiences in the creative process,pour their emotions into the screen,realizing their own ideal self.

关 键 词：拉康 镜像 想象界 象征界 他者 

分 类 号：B84-06[哲学宗教—基础心理学]