Dolan’s trilogy: two or three?
Based on the first three movies directed by Xavier Dolan – I Killed My Mother (2009), Heartbeats (2010), and Laurence anyways (2012) -we will look at the resurgence of matricidal fantasies during puberty. If the killing of the father is one of the cornerstones of psychoanalysis, that of the mother r...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2020
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| Online Access: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29211 |
| _version_ | 1811172825363382272 |
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| author | Rabain, Nicolas |
| author_facet | Rabain, Nicolas |
| author_sort | Rabain, Nicolas |
| collection | Portal de Revistas |
| description | Based on the first three movies directed by Xavier Dolan – I Killed My Mother (2009), Heartbeats (2010), and Laurence anyways (2012) -we will look at the resurgence of matricidal fantasies during puberty. If the killing of the father is one of the cornerstones of psychoanalysis, that of the mother refers to oedipal and archaic fantasies. How can we succeed in disinvesting the primary object in favour of substitutes during adolescence? On whom can we rely to keep at arm’s length a mother with a thousand faces: devoted, protective, firstmirror of the self, loving and beloved; but also seductive, intrusive, abusive and treacherous, who, in turn, invades and abandons?In Dolan’s work, the hatred of the mother is raw, massive and irrepressible. It stems from the child’s excessive sexuality, which thwarts the primalrepression. Indeed, separation is not allowed in such context that makes the mother a superhuman, omnipotent, frightening deity who resistswith tenacity and success to the son’s aggressivity.If Dolan’s trilogy bypasses the hetero-normative binary logic - by staging singular subjective journeys far from any stereotype -, a blind spot nevertheless remains: the progressive reshaping of the links to the maternal imago. Hating one’s mother goes hand in hand with the impossibility of leavingher. The price to pay: a frantic struggle against anxiety, the threat of depression, or even collapse. It’s the son, his mother and nobody else. In such aconfiguration, how could any triangulation take place? |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-29211 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2020 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-292112020-07-08T18:31:29Z Dolan’s trilogy: two or three? Trilogía de Dolan: ¿dos o tres? Rabain, Nicolas Intergenerational Transidentity Matricide Edipus Complex Complejo de Edipo Intergeneracional Matricidio Transidentidad Based on the first three movies directed by Xavier Dolan – I Killed My Mother (2009), Heartbeats (2010), and Laurence anyways (2012) -we will look at the resurgence of matricidal fantasies during puberty. If the killing of the father is one of the cornerstones of psychoanalysis, that of the mother refers to oedipal and archaic fantasies. How can we succeed in disinvesting the primary object in favour of substitutes during adolescence? On whom can we rely to keep at arm’s length a mother with a thousand faces: devoted, protective, firstmirror of the self, loving and beloved; but also seductive, intrusive, abusive and treacherous, who, in turn, invades and abandons?In Dolan’s work, the hatred of the mother is raw, massive and irrepressible. It stems from the child’s excessive sexuality, which thwarts the primalrepression. Indeed, separation is not allowed in such context that makes the mother a superhuman, omnipotent, frightening deity who resistswith tenacity and success to the son’s aggressivity.If Dolan’s trilogy bypasses the hetero-normative binary logic - by staging singular subjective journeys far from any stereotype -, a blind spot nevertheless remains: the progressive reshaping of the links to the maternal imago. Hating one’s mother goes hand in hand with the impossibility of leavingher. The price to pay: a frantic struggle against anxiety, the threat of depression, or even collapse. It’s the son, his mother and nobody else. In such aconfiguration, how could any triangulation take place? A partir de las tres primeras películas dirigidas por Xavier Dolan – Yo maté a mi madre (2009), Los amores imaginarios (2010) y Laurence anyways (2012) –, abordaremos el resurgimiento de los fantasmas matricidas en la pubertad. Si el asesinato del padre constituye uno de los pilares del psicoanálisis, el matricidio remite tanto a fantasmas edípicos como arcaicos. ¿Cómo lograr desprender las investiduras del objeto primario y destinarlas a objetos de substitución en la adolescencia? ¿Sobre quién sostenerse para alejar a una madre de mil caras: dedicada, paraexcitante, primer espejo del ser, amorosa y amada; pero también seductora, intrusiva, abusiva y traicionera, que puede, alternativamente, invadir y abandonar… En Dolan, el odio de la madre es crudo, masivo e incontrolable. Proviene del exceso de lo sexual infantil que viene a obstaculizar el trabajo de la represión. De hecho, no permite ninguna separación y hace de la progenitora una divinidad sobrehumana, todo-poderosa, aterradora, al resistir a la agresividad de su hijo con tanta tenacidad y éxito.Si la trilogía de Dolan bordea toda lógica binaria hetero-normativa –al poner en escena recorridos subjetivos singulares lejos de todo estereotipo–, subsiste de todas formas un punto ciego: la transformación progresiva de los lazos a la imago materna. Odiar a la madre va de la mano con la imposibilidad de abandonarla. El precio: una lucha desenfrenada contra la angustia, la amenaza depresiva e incluso el derrumbe melancólico. Es el hijo, su madre y nadie más. Con esta coyuntura, ¿cómo podría tener lugar la guerra de Tres? Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29211 10.31056/2250.5415.v10.n1.29211 Ética y Cine Journal; Vol. 10 Núm. 1 (2020): Ética, Estética y Política; 53-59 2250-5415 2250-5660 10.31056/2250.5415.v10.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29211/30026 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/ |
| spellingShingle | Intergenerational Transidentity Matricide Edipus Complex Complejo de Edipo Intergeneracional Matricidio Transidentidad Rabain, Nicolas Dolan’s trilogy: two or three? |
| title | Dolan’s trilogy: two or three? |
| title_alt | Trilogía de Dolan: ¿dos o tres? |
| title_full | Dolan’s trilogy: two or three? |
| title_fullStr | Dolan’s trilogy: two or three? |
| title_full_unstemmed | Dolan’s trilogy: two or three? |
| title_short | Dolan’s trilogy: two or three? |
| title_sort | dolan s trilogy two or three |
| topic | Intergenerational Transidentity Matricide Edipus Complex Complejo de Edipo Intergeneracional Matricidio Transidentidad |
| topic_facet | Intergenerational Transidentity Matricide Edipus Complex Complejo de Edipo Intergeneracional Matricidio Transidentidad |
| url | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29211 |
| work_keys_str_mv | AT rabainnicolas dolanstrilogytwoorthree AT rabainnicolas trilogiadedolandosotres |