エディプスの物語としての『ラ・ジュテ』のデザイン : 何が映像をデザインするのか

はじめに
1．自由連想としての『ラ・ジュテ』の時間旅行
2．強迫観念の正体としての自分の死と去勢
3．Fort / Da としての女の瞬き
4．死の欲動の反復強迫としての円環する時間
むすびに

La Jetée (Chris Marker, 1962) is a film where the hero who has been obsessed from his childhood by an image that reveals an unknown man’s death and a woman who is terrified by it. Marker’s statement about this film is as follows; “It was made like a piece of automatic writing… I photographed a story I hardly understood. It’s in the cutting room that the pieces of the puzzle came together, and it wasn’t me who designed the puzzle.” The question is, who edited the film? From Marker’s declaration, it follows that Marker’s “unconscious” edited it. Interestingly in his statement, Marker compares his editing to “automatic writing” and “designing the puzzle.” As is well known, “automatic writing” is based on Freud’s “free association.” So, we can interpret La Jetée from a psychoanalytic point of view. We will find that this story has a scenario of Oedipus Rex. If this is true, we can interpret that both her blinking eyes which look back at the hero and the story’s circular structure represent the death drive’s repetition compulsion. Then, what about “designing the puzzle”? As architecture follows structural mechanics, La Jetée also follows a psychical structure. However, we can also find something uncanny to shake the psychical structure in La Jetée. Needless to say, it comes from the death drive and its repetition compulsion. So, Marker’s “design” expresses something contradictory that is both structural and dysmorphic.