Thoughts on the Black Swan Movie

Part I

Black Swan's thoughts on being a woman, falling in love, existing and disappearing…

Being a woman has an existential meaning rather than an essential reality. So is almost everything about being. Black Swan tells a story about the disappearance of women. Every woman is born a girl. His transition to adulthood, to individuality, depends on healthy maternal supervision, paternal presence, and healthy separation from supervision. It is more difficult for a girl to be a woman, for a woman to be an individual, than for a man to be an individual. So is her separation from her mother's lap; According to Lacan, the boy finds a way to overcome the mother even by blessing, but the girl is in a much more difficult struggle to overcome the mother.

First of all, being a woman becomes complicated in female sexuality; The sexual maturation stages of the woman continue between the libidinal diversity/duality in her body. Sensitivity from the clitoris to the vagina is a process of physiological and psychological effects during its sexual evolution. The relationship with the mother is the process of the psychosexual stages of the girl child. The transition from those phases depends on the healthy supervision of the mother and leaving the supervision at the required time.

Separation from the mother becomes impossible in the presence of two types of mothers: The first is the mother who has not shown care and love in time, and the second is the mother who has transcended time and created her daughter as her own limb. When the daughter, who is the addressee of these two types of mothers, cannot separate from the mother, she develops a false self and pretends to turn away from the mother, or continues to obey helplessly in the face of the mother's manipulations. The anterior oedipal stage of the girl is much more complex than that of the boy; There is a state of being with the mother behind the desire that cannot give up the clitoris sensitivity and move to the vaginal perception. A woman who cannot be separated from her mother is a woman who has not yet become a woman. No matter how old she is, even if she is a mother, she cannot be divided. He is in the infantile sexuality stage and seeks a mother in all his relationships. Every woman who did not receive mother's attention at the right time and was exposed to that attention outside of the time, continues to desire the mother and cannot satisfy her hunger, even if it gets bored. Some of the homosexual tendencies also underlie the search for a mother. Or, for a heterosexual woman, the man she seeks is a man with feminine characteristics, who is compassionate and will take the place of a mother. For women who find men who look like their fathers attractive, it is not the father who is admired but the mother again; Since she continues to be a member of her mother, she will be able to position herself as her mother in front of a father-type person.

The woman, who continues to be one/same being, the only emotional unit with the mother, continues to satisfy her need for the mother without being aware of it and cannot form a true self.
In this case, the fear of being swallowed by the mother works as a vicious circle in the mother's safe space. Being his limb threatens to be engulfed, the threat of being engulfed demands the assurance of being his limb. The maternal voice is both reassuring and threatening. In the threat of being swallowed, the woman's swallowing sexuality has a large share. The woman is the swallower in her relationship with the man; but this fear is perpetuated silently against each other on the mother and daughter side. The fact that the girl is the same sex as her mother is met by the suppression of competition by the mother. In order not to confront her in the competition and to avoid the fear of being swallowed up in the past, she unconsciously pauses her daughter to become a woman. The importance of the paternal function comes into play here; because the mother, perceived as a great void by the girl, begins to be an entity that is grasped as a quantity with a paternal function. The male presence makes the girl realize her own lack and the mother's similar lack of it. This is what Freud calls the fear of castration versus Lacan's fear of not being castrated. The lack of imperfection creates the mother as a void without completeness. The father diminishes the existence by filling that void. Although Kristeva claimed that the paternal function was not essential, language would do the same, but in Black Swan, Nina was able to see the cruelty of the mother's emotional manipulations, at least thanks to the encouragement of her dance teacher Thomas - the paternal function.

Part II

The love of the undivided woman consists of disappearing. Therefore, it turns to its relations with the systolic personality, which can exist in its object and wants to feel its existence through the object of desire. If the desire cannot reach its object, it begins to be destructive and destructive. Desire gives way to jealousy. Jealousy is a reflection of the power of influence for women. The presence of the desired in another or another being in the desired is exclusion, annihilation for a woman. After that, jealousy leaves its place to the struggle for existence. Female jealousy does not lie only in not being able to achieve the desired; she can't digest not being the most desired.

Another being in the desired is this for woman: What I wanted was to exist in her. He has someone else, and he has someone else as much as I do. Here, among all these "there is", there is only one thing: my absence. . In that case, can I exist in my object of desire, with Hera's anger directed not at Zeus but at Zeus' women and children? I don't want any harm to my desire object without existing in my desire object. Such things are his plan. Here, the destructiveness of Hera, who turns to the women of Zeus, can sometimes lead to fantasy relationships. The relationship, which progresses in the form of modeling the opponent and wondering about him, is pregnant with strategies directed towards the one he loves. As Ulus Baker explains in his book Art and Desire: “manage a trois” I love what I love, my condition of hatred forces me desperately to imitate the love of my beloved. “Strategically, as a lie, as an illusion, it is love, albeit fake, and it can only be the subject of a melodrama.”

Part III

Existing as two options in female idealizations: a saint and a sinner. Lydia and Jezebel (Izabel)

It is not difficult to see women idealized in stories, fiction novels or movies. That she can be either an angel or a cursed person. In Black Swan, these two women are described in one body.

As Nina Lydia, her mother's limb, innocent daughter, will transform into Jezebel, who is exposed by scratching herself in the final scene and destroys Nina. As Paul describes in the Bible, Lydia is a faithful, clean purple cloth seller, a reasonable woman. Jezebel, on the other hand, was the daughter of Ethbaal, king of Sidon, who lived in the 9th century, and the wife of Ahab (Ahab) king of Israel. She is portrayed as sinful, bitchy, and corrupt. He is mentioned with satire both in the Bible and in the Torah, and his end is shown as a precedent for bad women.

In the Bible: “Write to the angel in the theater! His eyes are on the burning fire… The son of God says: Jezebel is leading my servants astray… Look, I will put her to bed, and I will put her and those who commit adultery with her into great trouble.”
 
In the Torah, his sins are described, and in addition to his punishment in the Bible, pigs are added to the dogs that eat his corpse.

The duality of Lydia and Jezebel, Mother Meri or Meri Magdalene are the types to which woman is reduced. Bad when you find your eroticism; Faust's Mephisto is good when he can't find it. To overcome these two idealized forms, the West adds a third idealized character to the story: the intellectual person.

Mary of Galilee… She only listens and follows Jesus. She has nothing to do with her femininity, she is a person of great goals; it's kind of genderless. Every faculty is idealized and reduced to such a sterility that Wagner adds the intellectual Parsifal to his erotic Kundry, his impotent Amfortas.

Couldn't a woman be fine by having all of these? Could it not exist as itself? Can't he leave the mother without disappearing? Can't his lies, jealousy, be lost in the struggle for existence? Can't it be beautiful in its simplest reality by finding its own self?

Towards thinking the answer to the accompaniment of Nada's Medusa song...

https://youtu.be/iCGGa1QboCk