ABSTRACT This article endeavours to contribute to the growth of psychoanalytic documentary film theory by exploring the figurability of subjectivity in compilation film. It does this by intersecting psychoanalysis with compilation film through the notion of non-linear temporality. It takes the Laplanchian notion of aprés coup as a central concept to interrogate the multiple synchronous time lines found in compilation film, as well as the multiplicity of temporal inscriptions of memory found in the unconscious. While both domains have radically different ends, the process of retroactive inscription of subjectivity can be seen to function in both fields. This theoretical understanding is applied to Jonas Mekas’ Outtakes of a Life of a Happy Man (2012). In this analysis the article suggests that Mekas’ subjectivity is represented by the use of a particular temporal gaze that enables the archive and memory to remain perpetually open to resignification.

中文翻译：

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纪录片的追溯主观性

摘要本文通过探索编辑电影中主观性的可图性，努力为精神分析纪录片理论的发展做出贡献。它是通过非线性时间性的概念将心理分析与编辑电影相交来实现的。它以拉普兰式的政变概念为中心概念，以审视在汇编电影中发现的多个同步时间线，以及在无意识中发现的记忆的时间刻写的多样性。虽然这两个领域的目的截然不同，但可以看出，主观性的追溯性登记过程在这两个领域都起作用。这种理论上的理解适用于乔纳斯·梅卡斯（Jonas Mekas）的《快乐男人的一生》（2012）。