The optical and scopic urges viewed from a phenomenological perspective

Taking as starting points the books The Address of the Eye: A Phenomenology of Film Experience, by Vivian Sobchak, and Les quatre concepts fondamentaux de la psychanalyse, by Jacques Lacan, this article proposes to look at two well renowned film objects – Rear Window (Alfred Hitchcock, 1954, USA) and Peeping Tom (Michael Powell, 1960, UK) – in order to equate two forms of perception that, all things considered, come together as one: the perception of the mechanical apparatuses that record and project film and the optical and mental apparatuses that operate on the human filmmakers as well as their intradiegetic protagonists. In fact, these two films not only explore the characteristics and limits of vision and affection in their diegetic world, that is part of the filmmaker’s world itself, but reveals just how much the human lives through the eye and the expression of the machine itself. Film ontology is foremost a matter of (re)production rather than creation.