By Magdalena Cieslak, Agnieszka Rasmus
Opposed to and past: Subversion and Transgression in Mass Media, pop culture and function is a suite of fourteen essays by way of students representing a few disciplines discussing transgression and subversion in movie, tv, song, theatre and electronic media. relocating throughout significant political and cultural pursuits of the 20 th century, the e-book addresses a world desire for transgression and subversion in our instances. utilizing theories of Freud, Lacan, Kristeva, Foucault, Adorno and Horkheimer, Deleuze and Guattari, and Butler, the amount is a vital contribution to figuring out the mechanisms and features of subversion and transgression in modern media and pop culture and gives crucial examining for all these trying to cross opposed to and past.
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Extra resources for Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance
This imaginary feeling of wholeness, this self-deception, is the precipitator that drives the narrative of the film. Also, Lacan’s discussion in “The Function and Field of Speech and Language in Psychoanalysis” of the function of the image as something that depicts not through reproduction, but through a process of dismantling, is precisely what Turner attempts to do to Chas, through the use of psychedelic mushrooms. Also, as suggested above, Turner can be seen to function as Chas’s Ideal-I as well, through the sexual ease he exhibits with his housemates, Pherber (Anita Pallenberg) and Lucy (Michèle Breton).
This is clearly a process fully engaged with temporality. Not only do Laibach incorporate in the same recording untimely elements and styles, but they also incorporate the power of popular music to generate rhythms and thereby temporalise bodies into a hyper-temporalisation that makes this process of control explicit: “Disco Rhythm, as a regular repetition, is the purest, the most radical form of the militantly organized rhythmicity of technicist production, and as such the most appropriate means of media manipulation” (Laibach qtd.
Chas’s ego has reasserted itself and he has reacted in the way expected of him. Turner’s attempts to dismantle Chas have created this rupture within him, which has taken form as bodily aggression. Despite the perceived destruction of their roles as interchangeable Ideal-Is the film ends with the ultimate gestalt: as Chas is driven away in the car, it is Turner’s face that the spectator sees from the window. This can be seen as an example of a perfect “dialectical synthesis,” that is entirely discordant with reality (Lacan 2002a, 3).