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Theories of the Subject: British Cinema and 1968 Martin Jonathan Hall University of Stirling Submitted for the Degree of Doctor

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Theories of the Subject: British Cinema and 1968 Martin Jonathan Hall University of Stirling Submitted for the Degree of Doctor Theories of the Subject: British Cinema and 1968 Martin Jonathan Hall University of Stirling Submitted for the degree of doctor of philosophy August 2018 Aiming to make an intervention in critical theory, film-philosophy and British Cinema scholarship, this thesis investigates what a marriage of Lacanian and Badiouian theories of the subject can bring to the study of the radical British feature film of 1968: films which in differing ways represent the political and intellectual debates current in the culture. The question of what can be learnt through an analysis situated within theories of the subject has not been addressed within British Cinema studies. Psychoanalytic film theory in its previous incarnations utilised a section of Lacan’s thought in order to focus on the ways in which the spectator was placed into a subject position by the unseen workings of the apparatus. Furthermore, the limited amount of Badiouian film scholarship is concerned with whether films can be thought philosophically. A fuller use of Lacan with Badiou as a hermeneutic model to address films from a specific period and context creates a new interpretive model on the porous boundary between critical theory and film-philosophy. This thesis utilises Lacan’s categories of the Imaginary, Symbolic and, predominantly, the Real alongside the Badiouian Event to interrogate the ways in which Morgan: A Suitable Case for Treatment (Karel Reisz, 1966), Privilege (Peter Watkins, 1967), Herostratus (Don Levy, 1967), Performance (Donald Cammell & Nicolas Roeg, 1970) and if…. (Lindsay Anderson, 1968) represent the radical subject of 1968, in order to argue for the efficacy of ideological critique, to think politically about cinema, and advocate the continuing resonance of the period in contemporary praxis. 1 Contents Introduction .................................................................................................................................. 4 Opening Remarks ...................................................................................................................... 4 Part i: British Cinema through the lens of French theory ......................................................... 8 A: Cinema and Politics ........................................................................................................... 8 B: Lacan and Badiou: French theory for British films .......................................................... 13 C: Why now? ....................................................................................................................... 20 Part ii: The structure of the project ........................................................................................ 21 Part iii: The gilded youth and short middle-age of psychoanalytic theory ............................. 25 Chapter One: Theories, Subjects, Method .................................................................................. 31 Introduction: A radical Lacan for a radical era? ...................................................................... 31 Part i: The untimely near-death of (psychoanalytic) theory, and why it needs revivifying .... 32 Part ii: Why not Deleuze? Desire and its vicissitudes ............................................................. 37 Part iii: A new Lacan for a new world: recent work on the gaze ............................................ 43 Part iv: What is the subject of 1968? Lacan, then Badiou ...................................................... 48 A: Lacan, Truth and the anterior ......................................................................................... 48 B: Badiou, the Event, Truth and the Real ............................................................................ 52 C: The Event of 1968: the collective/individual subject ...................................................... 58 Chapter Two: The Striving Subject .............................................................................................. 66 Introduction ............................................................................................................................ 66 Part i: Stunted little creatures ................................................................................................. 70 Part ii: What does the subject desire? .................................................................................... 73 Part iii: Desire, the death drive and the symptom .................................................................. 76 Part iv: Imaginary and Symbolic Identifications: the Real holes ............................................. 79 Chapter Three: The deadly subject ........................................................................................... 104 Introduction .......................................................................................................................... 105 Part i: The death drive ........................................................................................................... 109 Part ii: Death, the gaze and the mirror in the picture ........................................................... 112 Part iii: The Lacanian Act and the Subject ............................................................................. 131 Part iv: Death and denouements .......................................................................................... 136 Chapter Four: The militant subject of fidelity ........................................................................... 147 Introduction .......................................................................................................................... 147 Part i: A (very) brief study of the French Left in 1968: from Marx and Freud to Mao and Lacan ..................................................................................................................................... 148 2 Part ii: Badiou, 1968 and the Event (again)........................................................................... 151 Part iii: if…., overdetermination, the subject and the Real ................................................... 154 Conclusions and departures ...................................................................................................... 184 Opening remarks ................................................................................................................... 185 Part i: The impossible dream ................................................................................................ 187 Part ii: The dream made concrete ........................................................................................ 190 Part iii: Departures ................................................................................................................ 192 Part iv: 1968 ≥ 2018? ............................................................................................................ 195 Bibliography .............................................................................................................................. 202 3 Introduction Opening Remarks The rebirth of revolutionary action in western society demands, and needs, a parallel rebirth of theory (Nairn, 1968: 89). This proposition, written in the immediate aftermath of the events of May ’68 in Paris, could conceivably have been written at any point from 1922, when Lenin and Stalin first began to argue bitterly about the direction of the nascent Soviet Union, up to the mid-1970s, when what Alain Badiou calls ‘a resigned surrender…a return to customs’ (2009/20101: 1) occurred, after the militancy of the ‘Red Years’ of 1966-1976 ebbed. Some forty years further on from this retreat, this project returns to Nairn’s moment of rebirth, in order to interrogate the British Cinema of the era via theories of the subject emanating from France then and since, in an attempt both to revivify and add to a model of thinking about film, and, in a small way, to revitalise a political tradition, and to think about it philosophically. Alain Badiou, in a piece written forty years on from les évènements, suggests that [t]he second sequence2 goes from 1917 (the Russian Revolution) to 1976 (the end of the Cultural Revolution in China, but also the end of the militant movement which arose throughout the world somewhere between 1966 and 1975), and whose epicenter, from the point of view of political innovation, was May 1968 in France and its consequences during the years that followed (2009a: 83). It is now fifty years since the events of May ’68, that ‘moment of searing intensity’ (Badiou, cited in Pawling, 2013: 88) so resonant in the popular memory of the era. 2018 has seen a variety of conferences, events, and new books on the subject. A number of ‘68s can be identified in current and past research, which take a number of positions: on one end of the spectrum is Badiou, with his fidelity to the period as both the site of the event of May ’68 and of his project of interrogating philosophy and 1 Upon first mention, the dates of publication in both French and English translation will be given for all Badiou monographs. This is to aid in chronology, as there have sometimes been very large gaps between the two. 2 Badiou is referring to historical sequences that have attempted to enact what he calls the ‘communist hypothesis'. The first lasts from the French Revolution to the Paris Commune, so roughly 80 years. 4 politics, and their relations; on the other are Richard Vinen’s (2018) recent monograph, and Richard Wolin’s (2010) work on Maoism,
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