Page 37 - Metro
P. 37

SPOTLIGHT ON
                                                                                                           GENRE FILM


































                                                                -DFTXHV /DFDQpV QRWLRQ RI WKH oPLUURU VWDJHp HPERGLHV
                                                                D SRZHUIXO LQWHUVHFWLRQ RI SV\FKRDQDO\VLV DQG ĺOP WKHRU\
                                                                when identical twins are the focal point of a cinematic nar
                                                                rative, the work becomes fertile ground for exploring the
                                                                subconscious terrain of identity formation.
                                                                  $FFRUGLQJ WR /DFDQ  WKH IUDJLOH KXPDQ HJR LV RQ DQ HQG
                                                                less quest for reconciliation with the promised illusion of
                                                                D oSHUIHFWp VHOI  7KH LQIDQW ĺUVW JOLPSVHV LWVHOI LQ WKH PLUURU
                                                                DQG SHUFHLYHV D JORULRXVO\ XQLĺHG ZKROH t D EHLQJ LQ FRQWURO
                                                                RI LWV ERGLO\ PHFKDQLVPV  7KLV FRQWUDVWV ZLWK WKH ĻHGJOLQJ
                                                                agency of the infant, who is yet to master control of its
                                                                OLPEV  (YHQ IXUWKHU DZD\ IURP WKH FKLOGpV JUDVS LV DQ DELOLW\
                                                                to exert control over the physical and social environment.
                                                                /DFDQ FDOOHG WKDW ĺUVW LQWHUDFWLRQ ZLWK RQHpV RZQ UHĻHF
                                                                tion the ‘ideal ego’. From that moment of initial contact
                                                                with a romanticised version of ourselves, our unconscious
                                                                seeks an unattainable state of perfection, and is therefore
                             This spread, L–R: Rabbit;That’s Not Me  DOZD\V GLVVDWLVĺHG   1
                                                                  ,W VHHPV ĺWWLQJ  WKHQ  WKDW WKH LGHD RI GRXEOLQJ ZDV DOVR
                                                                WDNHQ XS E\ /DFDQ

                                                                SGD RODBTK@Q HL@FD RDDLR SN AD SGD SGQDRGNKC NE SGD UHRHAKD
                                                                VNQKC  HE VD S@JD HMSN @BBNTMS SGD LHQQNQDC CHRONRHSHNM NE
                                                                SGD imago of one’s own body HM G@KKTBHM@SHNMR @MC CQD@LR
                                                                VGDSGDQ HS HMUNKUDR NMD R HMCHUHCT@K ED@STQDR  NQ DUDM NMD R HM-
                                                                kQLHSHDR NQ NAIDBS OQNIDBSHNMR  NQ HE VD S@JD MNSD NE SGD QNKD NE
                                                                SGD LHQQNQ @OO@Q@STR HM SGD @OOD@Q@MBD NE doubles  HM VGHBG
                                                                ORXBGHB@K QD@KHSHDR L@MHEDRS SGDLRDKUDR  2

                                                                2Q ĺOP  LGHQWLFDO WZLQV RIIHU D WDQJLEOH H[WHUQDOLVDWLRQ RI WKDW
                                                                ĺUVW PLVDSSUHKHQVLRQ RI VHOI  ,Q IDFW  WZLQV KDYH ORQJ EHHQ
                                                                a powerful device for exploring disquieting generic tropes,
                                                                from the body horror of #D@C 1HMFDQR  'DYLG &URQHQEHUJ
                                                                1988) to the psychological horror of &NNCMHFGS ,NLLX
                                                                 6HYHULQ )LDOD   9HURQLND )UDQ]         $QG  DV IDU DV LFRQLF
                                                                cinematic images go, few are more instantly recognisable
                                                                WKDQ WKH *UDG\ GDXJKWHUV  /LVD DQG /RXLVH %XUQV  IURP
                                                                3GD 2GHMHMF  6WDQOH\ .XEULFN        VWDQGLQJ FUHHSLO\ LQ
                                                                WKH FRUULGRU RI WKH 2YHUORRN +RWHO  (OVHZKHUH  %ROO\ZRRG
                                                                ĺOP  MFNNQ  *XO]DU        WDNHV XS WKH WURSH RI PLVWDNHQ




                                                                      www.metromagazine.com.au  |  © ATOM  |  Metro Magazine 195 • 35
   32   33   34   35   36   37   38   39   40   41   42