KCI등재
포르노그래피, ‘비정상적’ 쾌락의 이론과 실재: 미하엘 하네케의 <피아니스트>를 중심으로 = Pornography: Theory and Praxis of the “Abnormal” Pleasure
저자
남수영 (한국예술종합학교)
발행기관
학술지명
권호사항
발행연도
2009
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
수록면
355-378(24쪽)
KCI 피인용횟수
0
제공처
Erika in Michael Haneke’s 2001 film La Pianiste is a piano teacher at a music academy, playing at concerts from time to time but mostly to her mother’s satisfaction. She seems to embody a complete Freudian subject who can be summarized with hysteria and perversion, having penis-envy. With her father being absent, she has been forced to replace the father’s place for her sacrificing but intrusive mother. As a way to keep her role in the reality, Erika tends to fantasize sexual pleasures by simulating ecstatic experiences through various forms of evacuation, e.g. urinating and bleeding. Among such pastime activities of her, this paper focuses on her frequent visits to porno-shop, as implicating a hidden obsession with sado-masochist fantasy and assimilation to male sexuality.
In this essay, I contend that the pornography exemplifies the identity confinement Erika faces, proving the fact that the system of pleasure representation does not have a room for female variants of sexual desire. As demonstrated in pornographic film, pornography does not allow its spectator to actually fantasize the pleasurable desire (not to mention that the desire represented in pornography is first and foremost masculine). By exposing the texture of bare copulations, pornographic images close any possibility of the spectator’s active participation of fantasizing, and consequently, obstruct him or her from moving to implementation of the fantasy. Therefore, Erika’s fantasy, presented both in her appreciation of pornography and in the masochistic letter addressed to Walter (a young admirer of her music and dominance), fails to explain her own autonomous desire, but is doomed to reveal the emptiness in her simulated pleasure.
In other words, the “abnormal” expressions of her sexual desire (either the “study” of pornography or her masochistic letter) are nothing but the reconstitution of her fantasy of (or for) pleasure at various levels within her irreconcilable reality. The film depicts the process in which Erika tries to assimilate herself to the male desire and fantasy, and finally she realizes the pleasure she simulates cannot but become appropriated by the other (i.e. by the male subject) at the expense of the pain on her side. In conclusion, sexual fantasy, in Erika’s case, is only a theory which never communicates with its praxis. Whether it is hard-core pornography or eroticism, the practice of love must be a non-pleasurable shackle for a subject who cannot identify her desire within the male-centered system of representation.
Erika in Michael Haneke’s 2001 film La Pianiste is a piano teacher at a music academy, playing at concerts from time to time but mostly to her mother’s satisfaction. She seems to embody a complete Freudian subject who can be summarized with hysteria and perversion, having penis-envy. With her father being absent, she has been forced to replace the father’s place for her sacrificing but intrusive mother. As a way to keep her role in the reality, Erika tends to fantasize sexual pleasures by simulating ecstatic experiences through various forms of evacuation, e.g. urinating and bleeding. Among such pastime activities of her, this paper focuses on her frequent visits to porno-shop, as implicating a hidden obsession with sado-masochist fantasy and assimilation to male sexuality.
In this essay, I contend that the pornography exemplifies the identity confinement Erika faces, proving the fact that the system of pleasure representation does not have a room for female variants of sexual desire. As demonstrated in pornographic film, pornography does not allow its spectator to actually fantasize the pleasurable desire (not to mention that the desire represented in pornography is first and foremost masculine). By exposing the texture of bare copulations, pornographic images close any possibility of the spectator’s active participation of fantasizing, and consequently, obstruct him or her from moving to implementation of the fantasy. Therefore, Erika’s fantasy, presented both in her appreciation of pornography and in the masochistic letter addressed to Walter (a young admirer of her music and dominance), fails to explain her own autonomous desire, but is doomed to reveal the emptiness in her simulated pleasure.
In other words, the “abnormal” expressions of her sexual desire (either the “study” of pornography or her masochistic letter) are nothing but the reconstitution of her fantasy of (or for) pleasure at various levels within her irreconcilable reality. The film depicts the process in which Erika tries to assimilate herself to the male desire and fantasy, and finally she realizes the pleasure she simulates cannot but become appropriated by the other (i.e. by the male subject) at the expense of the pain on her side. In conclusion, sexual fantasy, in Erika’s case, is only a theory which never communicates with its praxis. Whether it is hard-core pornography or eroticism, the practice of love must be a non-pleasurable shackle for a subject who cannot identify her desire within the male-centered system of representation.
분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2026 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2020-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2019-08-06 | 학회명변경 | 영문명 : Korean Association Of Literature And Film -> The Korean Association Of Literature and Film | KCI등재 |
2017-01-01 | 평가 | 등재학술지 유지 (계속평가) | KCI등재 |
2013-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2010-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2008-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2005-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | KCI등재 |
2004-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2003-01-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.17 | 0.17 | 0.2 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.23 | 0.26 | 0.491 | 0.04 |
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