A workshop by Dariush M Doust

Organized by Quán xīnlǐ zǔzhī

Interpreter: LiSiqi

Feb. 25-26 BEIJING

The seminar lasted two full days with 24 participants. Apart from the lectures and discussions, “The Draughtman’s Contract” (Peter Greenaway, 1982) was screened. 

The seminar covered firstly the history of the interaction between film studies and Lacanian theories, starting from Christian Metz, to the second generation Cahiers du Cinema’s editorial board (under the direction of Jean-Louis Commolli). The influence of Louis Althusser and Michel Foucault was also explained. The exposé and arguments then covered the transition from a French speaking context to the Anglophone world, above all through the works presented by the authors of the journal Screen. 

The second part of the seminar focused on Lacan’s theory of gaze in Seminar XI. 

The discussion was completed by a longer introduction of Central Perspective in painting (Alberti and Quatro cento paintings). A number of critical remarks concerning the early works in feminist film theory such as Laura Mulvey concluded the first half of the second day. 

During the last session, Lacan’s Theory of Gaze in the seminar was related to Peter Greenaway’s film. The structural position of protagonists and the structural limits of film’s narrative were highlighted. Participants contributed by their own interpretations, which in turn ushered into a longer and often surprising exchange of idea. 

Even though the content was theoretical by nature, we employed the terms in order to cast light upon the contemporary importance of imagery in video games and the mode of enjoyment that is involved. Some concrete examples, such as the structure of the contemporary ways of seeing in relation to the specular imagery served as an entry point for further reflections on more concrete clinical concerns and issues.