알모도바르 <휴먼보이스> 속 여성인물의 주체화 과정: 라캉의 주체화 이론을 중심으로

초록

This study examines the protagonist’s process of subjectivation in Pedro Almodóvar’s film The Human Voice, drawing on Jacques Lacan’s psychoanalytic theory. Lacan’s theory of subjectivation ex- tends and refines Freudian psychoanalysis by integrating the ideas of twentieth-century anthropology, linguistics, structuralism, and post-structuralism, thereby exerting a profound influence not only on psychoanalytic theory and clinical practice but also on a wide range of discourses including philoso- phy, literature, and art. The research begins by asking how the female character in The Human Voice reestablishes her “subjectivity.” In particular, Jacques Lacan’s concepts of the Imaginary, the Symbolic, and the Real, as well as his notion of the “split subject,” underscore the fact that human subjectivation is continuously reconstructed through lack and desire. Using Lacanian theory as an analytical framework, this paper explores how the confusion and fragmentation of the protagonist’s desire—and the subsequent aware- ness arising from it—ultimately lead to her subjectivation. To achieve this, textual and visual analysis methods are employed. The major Lacanian concepts— Imaginary, Symbolic, and Real—are briefly outlined, and the study examines the corresponding scenes in the film, along with the protagonist’s behavioral changes, to investigate their interconnectedness. Finally, the paper presents its implications and suggests directions for future research. The film’s de- piction of subjectivation is shown to be more than a mere transformation of character; it also confers deeper significance upon the protagonist’s psychological journey. Through this analysis, the study re- veals how Almodóvar visually represents the protagonist’s process of subjectivation and illustrates how that process is linked to the broader meaning of the work. By focusing on The Human Voice, this study analyzes the protagonist’s journey toward sub- jectivation and sheds light on its psychological and aesthetic significance. In doing so, it offers fresh insights into how Lacan’s subjectivation theory can be applied to film analysis and contributes to the broader field of interdisciplinary research between cinema and psychoanalysis.

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