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Contemporary Russian CinemaSymbols of a New Era$
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Vlad Strukov

Print publication date: 2016

Print ISBN-13: 9781474407649

Published to Edinburgh Scholarship Online: January 2018

DOI: 10.3366/edinburgh/9781474407649.001.0001

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The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009)

The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009)

(p.54) Chapter 2 The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009)
Contemporary Russian Cinema

Vlad Strukov

Edinburgh University Press

The Miracle documents the introduction of the symbolic into the real by means of sensing the lack, or in Lacan’s terms, the lack-of-being. The lost object—whether voice, memory or senses—is the ultimate horror because it reveals the uncanny voids in the discourse. Being is conceived simultaneously in the ontological sense of openness within which ideas emerge, and being in the noumenal sense of the world, or of entities separated in the world from the temporal perspective—the vibrations of time and culture. The symbolic is the ontological horizon of Being whereas its anterior is the lack-of-being, that is, the there-of-Being (Dasein) lacks its place in the order of reality. The symbolic mode is characterised by the minimal gap between its elements and places they occupy: as Lacan noted, in order for the gap between elements to occur, something has to be fundamentally excluded. What happens in psychosis—and in The Miracle—is precisely the inclusion of this lacking object into the frame of ‘reality’. It appears within the constructed world as the hallucinated, or imagined, or mystified object: the voice, which in this case equals the gaze, haunts the cultural discourse as paranoiac.

Keywords:   Proshkin, Lacan, Women, Mediation, Voice, Sculpture, Gaze, Memory, Prosthetic

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