Amy Dunne is a typical example of family marketing, she is, therefore, an Americanized product intended for worship (the film gone girl), she is beautiful, extremely intelligent and also creative, in short, she is the embodiment of success in the capitalist world. To this we add: She is, on the one hand - a pure symptom of her parents, on the other - a fantasy space in which the masses are projected, therefore: Amy is a being for others.
By marrying Nicholas, the embodiment of the provincial upstart and equally vain fool, she has already committed a 'transgression', she has simply abandoned the role intended for her, and in return she has received disappointment in the form of betrayal; her husband is cheating on her, although she has dedicated everything, primarily her career and, with it, leaving New York, to him. What remains for her is to be ethical to the end according to her desire. So: she will not resort to self-accusation, faint-hearted boasting about her own choice, and the like, on the contrary: she is determined to make everything happen so that it turns out that her husband killed her, and in order to make the scenario more convincing, she herself is more than determined to round everything off with a suicide that will look like a murder committed by her husband. - Ultimately, Amy was sacrificed from the beginning of "her" life, all the more so because she was a project, an invention of parents who, through the child, retrospectively acquired for themselves the meaning of life that had been lost in the meantime..
In Žižek's words, what did Amy do to get out of it - she finally became "an object for itself"Whether the method by which it was carried out was extremely cruel is another question that we will not expose to analytical scrutiny here, however, a turn or a cut, emerging from the oppressive shadow of the big Other often requires a radical step forward.
Since America no longer intends to be a postmodern, Americanized product to the rest of the world, a grandiose spectacle in which fantasies and libidinal impulses are imaginatively invested, from which one draws enjoyment obtained by directing in which we represent the subject of the superlative for others, she decided (as she says) Tramp), to stop being a "victim", which is to say: she is in the process of "subjectivization", self-experience of herself as an object, which is a process that imposes isolation and withdrawal, hence globalization is no longer an option for her.
If she had somehow resorted to the usual false self-criticism (the story we tell ourselves about ourselves), the eternal lament over a cursed choice, the rant about the past where she made a fatal mistake, that would have shown us an Amy who doubted all along whether she really it is what she represents to others. No: Amy is much more than that, and above all she is what the script uses, whose subject is that of ingeniously manipulating her, we see this at the end of the film when she gives an interview playing the role of a happy wife in an idyllic marriage, after a scene that takes place between her and her husband upstairs where the whole truth is told. (Her attitude towards all this is expressed through the cruel murder of Desio, who is desperately in love but with his version of her.)
By rejecting the world, what if America sends a message: we no longer want to be masters of others, but to master ourselves? Because that is the way to be great/strong, powerful again, and so on. Since it has spent too much time in militaristic missionary work, translated by the media as an effort to establish a mondialistically ordered world.
In the reciprocity of relationships, the one who is placed to govern others becomes no less a victim, after all, if nothing else, at least of the acquired need to govern. Or, to use illustrations for the sake of the film Analyze That, in which mob boss Paul Vitti (played by Robert de Niro), falls into deep anxiety due to the enormous pressure that is tacitly exerted on him, consisting in the order to always be the one 'who is supposed to know how to govern'. (Since, therefore, the master has no right or is deprived of the luxury of doubting his decision, in the end, in many decisions the master decides for the sake of decisions. Or, accepting the correct answer Lacan to the question that haunted Freud for thirty years - What does a woman want? - He wants a Master to rule with., then it is not surprising that women often fall into hysterical fits.)
Let the one who is loved disappear
Ginger has the charm that marks a night in a casino in the commercial-lit Las Vegas, she is always around those who gamble big because she 'brings them luck' (in fact, she draws money from them), simply, her charisma and above all what Kierkegaard means under - the art of appearance - captivates and seduces, everyone, even those in charge of arranging the parking lot, lovingly fulfills her every wish, and yet, at the same time, she is a true slave to a poor, miserable and despicable Lester, a pimp who is not even good at that. Thus the film Casino shows that the appearance skillfully conceals that, indeed, there is nothing mysterious or sublime behind the performance; on the contrary, power is gained only by the other who instills into the object of pleasure what is an eternal secret to him. (Ginger's downfall in a hotel in the hallway of which she witnesses surrounded by drug addicts who have spent almost all of her money, further indicates that the aura of the seductress lies in the fact that she is a tragic person who is positioned in the space of the fantasy of others.)
The violence that the idol inflicts on its worshippers, who are trapped in obsession (imitation and the loss of the illusion of identity), must, at some point, be paid for, so Lacan is indeed right when he states - I love you, but since there's more to you than yourself, I'm going to break you.!
U gone girl, Amy has directed/directed the best commercial for herself without even knowing that she is actually doing it. Beloved and dear, creative, Amy, who is a role model for many, just disappears so that during that period her husband would be blamed for something like that, however, when she suddenly appears, half naked and completely bloody, with a story that she was held captive by a crazy fan who was once her acquaintance, then all the media attention shifts to the well-known - Americanized centipedeAlthough behind it all, in fact, is a crime that will only become a real hell once the doors of the house are closed, in front of the cameras, however, there is a completely different picture: this is the couple that America celebrates!
To the question, then, what does the other want from us?, one possible answer would be: an ideal version of ourselves. Because, if we do not maintain ourselves in the symbolic mandate intended for us, as something mysterious, arcane, unknowable, if, therefore, we do not maintain a cold, 'clumsy' distance that never even gives a gesture, finally, if we do not elegantly surrender ourselves in our simplified and single life only and exclusively to the profession like Mr. Stevens (The rest of the day), Miss Kenton will fall into deep despair, feeling like someone who has, in fact, been nothing less than betrayed, having lost the desire invested in an object that was concealing that it was not what it tried to present (as) it was in its appearance.
All the more so, the peak of that which attracts and drags us even to death itself, is precisely that which literally does not exist. That is why the art of staying on the surface, of emitting one, say, to another - scientific disinterest, but because, no matter how seductive an object may be with pure aestheticism, it is always a symptom of the other (a trace of the ego-ideal), as well as an opening for accommodating a fantasy projection that must abandon and disappoint us, who direct it.
Bonus video:
