by Astrid Álvarez de la Roche
First published in Spanish on the blog of NEL-Bogota: http://psicocity-bogota.blogspot.com/
Avatar, with its beautiful and lively colors, strange and interesting landscapes, new and showy beings, breaks ticket selling records.
Beyond the use that can certainly be made of the film, in the sense of understanding questions about human organizations regarding the laws and conditions of the Other for lives in terrestrial community – such as the different authors have taught us from disciplines such as mythology, anthropology, sociology, and even from a psychodynamic reading of Freud´s Totem and Taboo, to state some examples – it is worth considering a question: what will occur with this Subject in the sense of his particular way to enjoy when after passing through the Other he takes this new blue body, that is the one of his avatar genetically related to him?
Since if in a certain way every body is indeed an avatar, and reality does not exist by itself, can the Subject choose anything? Can human being change worlds as he will, according to such a principle of pleasure, emulating certain theory of dreams in the sense of the fulfillment of desire?
Although similar to the contemporary ways as much as door-to-door selling, the Subject in the film will know indeed that all infinite interchangeable fiction is impossible.
Still in Na’vi’s world (Pandora), it is demonstrated that the semblance implies an element of real that entails a stopping point, a limit to infinite redefinitions of the being. Thus, it would be possible to choose in terms of destiny, for example, but not everything.
The interesting thing about Avatar, also, is that on the basis of “more of the same,” it allows to cause one by one of the elements in the audiences to locate, on a disabled marine, that beyond rights, restitution, and guarantee; beyond “immediate healing” and symptomatic therapies; the direction of the symptom in its analytical version concentrates a product that cannot be resolved: that of the persistent return of the drive.
Therefore this story is not finished, is a result from a Vital operation.
The last scene is not more than an opening: that open eye serves as a signal that the Subject has been injected.
It is missing, in that scenery, whatever that subject makes as a symptomatic production, with an enjoyment that resists all discursive elaboration. In other words, his own Good know-how due to it’s own anguishing conditions. It is what allows us to think solutions in the long term.
