Chancey Gardiner: a subject supposed to know? Conjectures from the Garden

Abstract

The interest of this article is to be able to produce, through the relationship between cinema and psychoanalytic theory, a reflection on the subject supposed to know. Thus, the idea for this article was formed firstly by the strong impression left by a film, Being There, and secondly by what was brought to my mind, après coup, by the psychoanalytic interpretation. This film develops, in a comic but also disturbing tone, a character that is intriguing to think about the subject supposed to know in a cultural sense. Through the film, we thus allow ourselves to approach the conception of the subject supposed to know not only in terms of its function within the analytic setting, but also in its possible effects within the social and political scene. This film allows us in an intimate way, almost as if one were hidden inside the scene, to approach what the position of the subject supposed to know represents. The text will be structured in three sections, in which we will address the place of the image, of the words and of the discourse respectively in the consolidation of the subject supposed to know in Chance, the protagonist of the film. In the introduction of this text, a brief synopsis of the film will be developed.