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Monday, August 4, 2014

REVIEW: A MOST WANTED MAN

Review Here
A Most Wanted Man              
I find the designs of these posters echoing each other for these two films quite interesting.

The Reluctant Fundamentalist is about an American educated superstar Middle Eastern financial genius beginning to shine on Wall Street when 9-11 happens to him and he starts to become scapegoated. Then his girlfriend "betrays" him and that is the end of his time in the US as he goes home, becomes a religious leader. The Americans with their ham fisted approach to everything turned him into a formidable enemy.

There is also a true counterpart to these two stories of a religious leader who was assassinated by drone I think  and his US educated son was also assassinated - In A Most Wanted Man he is kidnapped. This is the meaning of our present strategy of pre-emptive threat. They figure the son will want to avenge the father, so they take out both.

Almost all of the reviews of AMWM have emphasized that both POV are understandable and blame cannot be assigned to either side.

People know what they do.
They frequently even know why they do what they do.
What they don't know is what they do, does.
Michel Foucault

American intelligence is drowning in information.

Information is not knowledge.
Knowledge is not made for knowing. Knowledge is for CUTTING.
Michel Foucault

Bachmann does understand that what the Americans want to do will have catastrophic consequences.While working in espionage he maintains as much of his integrity as is possible for him under the circumstances; his human moral sense of ethics. He realizes that his generation is no longer in charge, and he is confronting the Deleuzian Body Without Organs, the machinic. He tries to deal and decides to trust.
And he makes one fatal mistake.

In his last meeting with Robin Wright he deals. He accepts his perfidy and says to her that something must make it worthwhile. What is it that she tells herself that makes it worth while for her.

Wright says, "To make the world a safer place."
And in his last meeting with all of them he ends with his final statement to them,
"To make the world a safer place." 
Is Bachmann mocking her or does he really believe it, does he want to believe it, the sentence is ambiguous.

He is mirroring Wright's words to all of them including Wright.
What he doesn't know is that she didn't believe what she said, or did she? It was a "floating signifier" acting as a mask denying the utterance, the jargon of ideology - propaganda. Or did she perceive her own false belief in that ideology when he mirrors her in the meeting. Her face is a marvel of ambiguity at this moment. 

She will make him pay for mirroring her whichever way it went for her: mocking her or sincerely felt words that call her use of that sentence to him as sham.

Le Carre's real name is Cornwell. Members of his family took part in the making of this film and you will see them listed in the credits. Knowing a number of interviews he has done, he believes that the facts of our present world can best be understood in the context of fiction. 
His fiction is permeated with bitter truth.

We are seeing this film post Snowden and that makes all the difference. 
Snowden is an EVENT whose irruptions and echoes will be felt for as long as anyone now living is alive, and beyond. 

It is not possible that Seymour Hoffman did not know that the World is so damaged that it cannot be fixed. This movie reveals and conceals that awareness. We view the horror of the ending, the reality we already know is coming for them but we do not see the Zizekian INVISIBLE REAL.

All of them are totally evil. And their evil is total, so permeated and embedded in each one of them that EVIL IS INVISIBLE. 
These people are obscene. What they are doing is an obscenity.

They are all doing their job to "make the world a safer place."
The way Herzog writes about the jungle so drenched in sin that sin is invisible. The jungle is OBSCENE

Clearly Seymour Hoffman sees this. And as Russell Brand says to an audience about his own heroin addiction - 10 years clean he says.

Heroin is not my problem. Reality is my problem.

We have this ideological belief that people suffer from addiction. They don't suffer from addiction. They suffer from reality. Our world is a reality no awake person can tolerate, cope with, or live in. Survive yes, but always there are those who desire and demand to live, 
not to survive.
No one has ever said it better than 
David Foster Wallace 
in his great novel
Infinite Jest.

Tuesday, July 8, 2014

REVIEW Snowpiercer: A Reading Through Ayn Rand's Atlas Shrugged

In reading this review from Unemployed Negativity more resonances emerged. I love his reading BTW. I am reading the film Snowpiercer through Ayn Rand's Atlas Shrugged, a sort of different reading.
In the early 1960's I attended Objectivist Lectures in Philadelphia given by Barbara Branden. (1960-1962) and sometimes Rand herself came to the Q and A time after the lecture. I never asked one question in two years. I didn't because I had read her fiction and newly published non-fiction (For the New Intellectual and The Objectivist Newsletter) and any question that was asked I already knew what my answer would be and waited to see what Barbara Branden, Nathaniel Branden, Leonard Peikoff, Alan Greenspan, et al and even Ayn Rand herself would reply.The questions were most often stupid and were posed because, well, IDK why........maybe just so they could stand up and ask her a question?
So while Barbara and Nathaniel were cool and poised, Rand would begin to show irritation, frustration (me too) and would sometimes get angry or at least emotional.

Ayn Rand testifying at HUAC-House UnAmerican Activities Committee
In Mason's speech to the people in the "tail" she perseverates by repeating
So be it.
It is so.
over and over again
When Rand was stressed at a Q&A session being the flyswatter that Nietzsche said he wasn't going to be:
("I am not a flyswatter!")
Rand would say with finality:
A Is A!

So when Tilda Swinton gives her over the top speech as Mason in Snowpiercer, my immediate association was not Thatcher but Rand in all her outrageousness. Her hair, her facial expressions, all exaggerated of course. Much like the teacher in the classroom car is all Reese Witherspoon in her 1999 movie Election, so much so that I thought young Reese was in the movie for a second.
And less you think these train cars are too too.....
The New Japan Cruise Train
WOW
Another car on Japanese train
Here is a clip of Tilda Swinton as Mason. A man's arm is being attached to a "sleeve" to plug into its gasket in the train to have the arm held out to the way below arctic freezing temperature outside to demonstrate to the "tail" section the danger in revolting and stepping outside the safety of the train. Mason gives her speech and she is quite mad and wonderful.
http://youtu.be/_47ph6EvQPU

Tilda Swinton as Mason in Snowpiercer.

The Sacred Motor is the "sacred" motor Dagny finds at the defunct Twentieth Century Motor Company, where Galt was working and designed it. It is an engine of the future and it is in need of serious repair which Dagny gives to - I forget - to fix. Dagny has plans to put this engine into her locomotives of Taggert Transcontinental. Dagny's engine will ride the rails made of Reardon Metal a metaphorical image irresistible to someone who thinks Lacanian. The engine in Atlas is patterned after Nicola Tesla's engine built for Westinghouse when he was inspiring Edison who stole all his ideas. It was an engine that had no fuel needs, just evidently air, that car accelerated in a few seconds. It was scrapped, its existence hidden, a secret. After all Standard Oil of New Jersey was a powerful corporation at that time. An eternal engine like that would not have been welcomed by the players of the game. Anyway it is gone and we just imagine and guess about it and some try to reinvent it in their garages.

So here it is in all its magic glory in Snowpiercer. A train that circles the earth once each year, like a sort of ground satellite. The Eternal Sacred Engine is everlasting, irreversible, just like Capitalism. It continually goes. The social structure inside the train is confinement of classes. The beggars of the earth are in the "tail" - nice symbolism here - and the Sacred Engine is at the front with its designer who is now getting old. He is wearing out.

The point that Unemployed Negativity brings out is Zizekian thinking. So I urge you to read it. The humans inside the train are confined within the Foucauldian Grid of power/knowledge. Resistance is possible and revolutions do happen but do not overthrow the system. The system devours them like Pac-Man (Marcuse) and is strengthened by them. (Vija Kinski will tell Eric Packer the same thing in DeLillo's Cosmopolis.) Baudrillard will challenge Foucault in his book
telling Foucault to go to the edge of the abyss and continue the pressure until it all implodes into the chasm. Until it commits suicide. 

And this is Snowpiercer, as well as Atlas Shrugged

What Unemployed Negativity says is that no one inside the train can imagine life outside the train in the ice-age out there. And we in our world now cannot imagine our way out of it. Only one person on the train knows about snow. A nice wave to that wonderful novel
Smilla's Sense of Snow
Just in case you never knew this book it is a marvel
The Asian drug addict Kang-ho Song in a wonderful performance has observed that the snow is melting. That they can exist outside the train. 

He wants to create an explosion




that will avalanche the mountains of snow. Curtis now the Curtis Revolution of 18 (years 

they have been on the train) gives in on continuation when Trainbaby shows him what is 

under a hatchlock. He sees what he will have to continue doing and he cannot.

He agrees to the explosion, gives her the match, and these last few 

huddle together waiting for the detonation.

Then when Trainbaby 


Curtis and Trainbaby born on the train 17 years ago

who knows nothing about what is in the world or how people lived, she is the

tabula rasa, she and the rescued child dress warmly and go outside. Her footsteps

 sink but she does not. Nothing is there but mountains of snow until she sees a white 

movement far off.

 It turns and we see a polar bear. Is the bear out hunting for food? She has no weapons,

 no place to go for shelter as the train was burning inside. She and the child are the only 

survivors. That wonderful moment as she pushes her hood off her head bared to the air.


A helpless human. 

A return to the beginning. Eternal Return - Nietzsche

The last frame is the polar bear looking at us.





This is a gorgeous film made by a visionary auteur director Bong Joon-ho


Chris Evans
Tilda Swinton
Jamie Bell
Ed Harris
John Hurt
Alison Pill
Octavia Spencer


Arturo the Polar Bear in Arizona Zoo. - Help Rescue him

Wednesday, July 2, 2014

DIVERGENT Movie: Reading FOUR Through NIETZSCHE




Only one time in the movie do we see Four's entire tattoo.
We see it in the scene directly following the one where Four takes Tris into his own Fearscape and Tris sees Four's deepest fear, being beaten with a leather belt and buckle by his father Marcus starting in childhood.

Usually Four stands and calms his breathing and heart rate. (This is standard technique for "flooding" developed by Edna Foa.) Tris however grabs Marcus's belt, punches Marcus and Four protects her from Marcus, thus initiating a new response in Four.

In these two images we have the complete history of Four/Tobias's childhood, in reverse sequence for the viewer.

The Tattoo

The tattoo is a record of his beatings. On a child's skin, a leather belt is going to leave terrible welts, cuts and permanent scars. Not like Patsy's beatings in 12 Years a Slave nor like this slave:
A horrifying explicit vision of Nietzsche's Torturous Inscription of  the Body
But you get the idea. To a child it is a terrible thing to endure beatings that leave permanent markings. 
Down the center of Four's back on his spinal cord are the five faction symbols. 
So with this piece of dialogue we know that every time Tobias displayed curiosity - forbidden in Abnegation - which is linked to intelligence, or bravery, honesty, happiness or kindness Marcus forbid it. And he not only forbid it - the way Beatrice was forbidden - but he was also punished unmercifully for being a curious, kind, intelligent, honest, brave and happy child until he learned never to show any of those feelings. Ever. 
The tattoo clearly shows the lash marks probably covering some scars. It clearly shows all five of the factions, desires, attributes, a well rounded person who was emotionally mature might have. 

But exposing the tattoo reveals both shame and desire.

In revealing what he has concealed to Tris in his Fearscape and on his back he is confessing shame and opening himself to vulnerability. (Badiou:In Praise of Love)
Tris carefully runs her fingers and hand down Four's back touching him tenderly and admiringly
And Four is being touched tenderly for the very first time in his life. He does not wear his tattoo openly nor share it with anyone as he is a very private person.
"Not approachable."

This is an explicit Inscription of the Body - Mind always included in this concept - that Nietzsche details for us in The Genealogy of Morals. 
Four has turned his torture into body art. He has carved the memory of it onto his back to be there forever. 
All you have to do  is look at the lashes as they curve around his arms, neck and rib cage, how the belt falls on his shoulder blades and back to understand this. He never wants to forget it. He never wants to forgive. He always wants to remember the terrified child he was. 

Is this why he keeps going back into his Fearscape? Has it become erotic for him? 

Actually in terms of Behavior Therapy Four chooses flooding - implosion - to confront his fears (Edna Foa). With flooding it is necessary to re-experience the "flooding" on a semi regular basis to keep the fear manageable. It doesn't go away forever. 
Spontaneous recovery is a fact of psychological learning theory.

BTW this works really well to desensitize your dog to thunder and Fourth of July explosions. Tape similar sounds, go to confined room with your dog, play the tape very low (read a book or something) until your dog ignores it. Every time you do  it increase the noise a little bit. Until you can play it as loud as possible and your dog ignores it. You will have to do it semi regularly to condition your dog as Four is conditioning himself.

Back to Four and Nietzsche and The Inscription of the Body/Mind
Four's body/mind is inscripted by Dauntless when we meet him. He is carefully gendered masculine: he walks forcefully into every scene or exits purposefully. All his movements are deliberate. His dialogue is all truth. No extraneous small talk. He exhibits a frightening awareness of being a killer when he acts in that capacity. He is deadly.
Nietzsche on The Inscription of the Body which also includes the Mind.

192 How does one create a memory for the human animal?
192-193 ....there is perhaps nothing more terrible in man's earliest history than his mnemotechnics. "A thing is branded on the memory to make it stay there; only what goes on  hurting will stick"...It is the past - the longest, deepest, hardest of pasts - that seems to surge up....Whenever man has thought it necessary to create a memory for himself, his effort has been attended with torture, blood, sacrifice. ....sacrifice...repulsive mutilations...the cruelest rituals in every religious cult....all these have their origin in that instinct which divined pain to be the the strongest aid to mnemonics.

Nietzsche says more and he says pages about punishment. Festinger's work has showed that the stronger the initiation procedures, the more adherence to the group. Is this the rule for punitive families also?

Engraving your back is not  pleasurable. And culturally now, tattooing has become a wide practice. These people are engraving their body/minds. This is a surface Inscription of the Body. Ask anyone who wants to tell you why they have this one, where they got it, how they chose it, what it means, when they got it, who was the artist who did it. Each one is a MEMORY.

Going through a reading of Badiou it is only Love that opens him to vulnerability. 

Thursday, June 26, 2014

Review: Reading Divergent Through Foucault's Panopticon

Jeanine's speech to Tris

The brilliance of the faction system is its conformity to the faction that removes the threat of anyone exercising their independent will. Divergents threaten that system.
Don't get me wrong. There is a certain beauty to your resistance, its defiance of any categorization. 
It's a beauty we can't afford.

Power/Knowledge/Normality

Power and Knowledge are a relation. They form a grid that intersects with history. As capitalism grows the demand for workers/consumers grows and "normality" is demanded. The vagrants, the mad, criminals, derelicts, et all are rounded up and confined all over Europe.

Divergent's Faction System illustrates the Foucauldian Grid. Each faction demands explicit and implicit conformity. Beatrice smothers herself to display the correct behavior demanded of her in the faction of Abnegation. Caleb is able to pass by displaying all the outward behavior of Abnegation as "floating signs" masking the emptiness of his commitment. He passes.

Foucault has taught us that power does not come from above. It seeps from below, through the interstices. Caleb controls Beatrice, inhibiting any spontaneous gesture she begins to make. This is where power is. Right there with Caleb overseeing her every move when he is with her. Pecking at her like a crow, keeping her from growing as a person.
What is important is that Beatrice be obedient. That she display the "floating signs" at least of selflessness.And this is the meaning of the Grid of power/knowledge/normality.

The other aspect here is 24/7 surveillance.
This movie which has so much respect for its fan base signals surveillance without explaining it.

1. Beatrice has been told by Tori to go home, say the test made her sick so she can think over what to do without being in a room with others to distract her. Caleb asks her over dinner prep where she was and she tells him she was sick and came home. He asks her if she finished her test and she says yes. Then he asks her her result. Instead of her usual avoidance or lying, she inverts his question to address his intent by saying, "What were your results?" His questions are interrogative, for the purpose of domination and she turns the tables on him.

2. At the dinner table her father admonishes her for just coming home like that and she says, "I was sick." And still he reprimands her as they are being watched carefully, being scrutinized. 

3. When her mother appears as they are loading the truck, right after embracing her Tris says, "Mom, you can't be here." Natalie says, "I know but you're in danger."

So with these few sentences we know people are not only in factions, but they are confined as to where they can and cannot go.So, as in Hunger Games, we get confinement, although not as harsh, but still confinement it is.



Saturday, June 21, 2014

The Rover REVIEW:If You Have Never Totally Loved a Dog, You Won't Get/Love This Film

If you have ever loved a dog with all your heart, 
then you will love and understand this film.

Guy Pearce Threatening Pattinson's Rey
I have read many reviews on this movie and none of them made we really want to see it. I really wanted to see it because:
1.  Michod wrote, directed and produced it
2. Guy Pearce has always turned in an intense performance and always, with no exceptions, chooses his material with great intelligence.
3. I wanted to see Pattinson's Rey

Here's a review by the Guardian, usually sort of decent main stream reviews, that does not disappoint my expectation. Just like the rest of them misreading this film. LINK

As I said in my title, if you have never loved a dog with all your heart you probably won't love this film nor will you get it.

I have only seen Animal Kingdom and The Rover. But both of these have a secret surprise key.
A Teaser for the Key to Animal Kingdom
When it comes for just those few seconds it is so shocking you almost don't think you are seeing it.
The mother kisses one son so erotically you can't believe you saw it.
One wonders what she did with all their bodies/minds when they were infants, toddlers, adolescents, young men. And we wonder what they do with each other sometimes or did when younger perhaps. It's a return to that time Freud describes as the account of the sons killing the father to have the mother and sisters. In Animal Kingdom the father is absent, and the sons have the mother. 
Or does the mother have the sons?

Animal Kingdom is set in the dissolution of society. This mother has her sons forming a criminal gang that kills and steals and gives her lots of goodies. Her family is incestuous and as Freud points out, kinship breakdowns undermine a civilization.
So this is the story of a breakdown on its way.

In The Rover I wondered if Rey came from such a family constellation, the resonance was so strong. 
Understand Rey - not as a low IQ, mentally deficient, retarded young man - but as a frightened stray searching for a Master to serve.

Rey is a dog. A dog wants a Master. Rey has found a new one in Guy Pearce to replace his bad Master brother. But yet he cannot kill his old Master. He's a dog. But he is  not indifferent. 

Rey's brother asks Guy, "What did you do to my brother?"
Pearce answers, "I didn't do anything to him." 
The unspoken sub text is, "But you did. You left him wounded and bleeding in the road like a roadkill. Like you would have left a dog you hit. And now you just shot him dead." 

This must have been a very difficult role for Rob Pattinson. 
There is a picture of his mother taking him to the playground, on the slide with a fucking halter and leash on him, inhibiting his movements.
It is cringe worthy but for obvious reasons I won't post it here.
His sisters used to dress him as a girl, gave him a girl's name (Claudia?I forget now), and take him out with them and introduce him as a girl to their friends. Can anyone imagine Kristen Stewart doing such a thing to a younger brother?

The Rover is a story of the breakdown that has occurred. 
The secret of this movie is as astonishing and compelling as in Animal Kingdom and in that light bulb of intuition the movie becomes organized into a different perception than the one you thought you were seeing.


Not one reviewer - and they are paid professionals - got this sudden twist which I won't reveal 
as it is a spoiler.
The entire movie spins and coalesces in a completely singular way from a dystopian sort of western into something else. 
Reading through 
John Caputo's The Insistence of God: A Theology of Perhaps,

spiritually explains Guy Pearce's complete focus on getting his car back. Only the Granma asks, "What is it about that car that is so important?" (something like that)
And I will leave you with that to understand Pearce's rage, fury, violence from a man who had been a farmer, a man who cared about how things grew, and how you took care of them.

Reviewers discuss Pearce's violence on just getting his car back. The same way Eric Packer in Cosmopolis is discussed as going across town to get a haircut.
No one seems concerned with the violence that has devastated the world we are looking at in this movie. Oh well, that happened a long time ago. Let's move on.

If you carefully watched who he killed and who he spared you will have the key that comes from knowing the secret that you won't get until the end.

It's a "post modern" movie. The end is the EFFECT. You have been watching one thing after another happen, seeming causes leading to an effect. The end is the EFFECT that changes the entire movie jolting you to read it backwards. To infer causes. The Effect comes first. Then Causes are understood retroactively. This is Nietzsche.

Every person he killed was INDIFFERENT!
Every person he spared reflected humanity back at him as he had them in his sites.

The indifference of humanity has ruined the planet.
The planet is indifferent to what we are doing to it. 
The planet will change and survive no matter what.
Michod is indifferent as to whether this movie amuses or entertains you. 
He doesn't care. He is as indifferent to us as we are to the ruination to come. 
Michod is mirroring us in this movie.


What the gods and all reasonable humans fought in vain wasn't stupidity at all. It was sheer, wanton, bloody indifference to anybody's interests but their own.(Le Carre's A Delicate Truth p. 296)
Michod has given us a world where humans and the indifferent have both survived.
"Humanity is the scarcest resource." - The Rover


This scene occurs early in the movie, almost at the beginning. It left me wondering about him. Why would he get out of the car in the face of those criminals without a weapon knowing they had them. I didn't get it until the last frame in the movie.

Thursday, May 29, 2014

Divergent Reveiw: Reading Beatrice/Tris Through Lacan's Mirror Stage

Beatrice at mirror in Abnegation gif
Beatrice gets her hair trimmed the second day of every third month. At that time she may look in the mirror for a minute or so. That's FOUR times a year she gets to see her image in a mirror, from the chest up.
Beatrice at Mirror at Abnegation

Beatrice entering aptitude test room sneaking a look at herself
Tori: What's with Abnegation and mirrors.
Beatrice: We reject vanity.
Tori: Yes, I know. Sit down.

Here's a clip of that scene with commentary by director 
Neil Burger

So now you have seen that she lies in the chair and looks to her left that is a mirror, seeing herself. She gets up, walks over and sees herself standing for the first time - that is 
her entire physical body for the first time, not just from her chest up for a few seconds.
She gestures by raising her right hand as her image mirrors her in the mirror.


Reading through Lacan's Mirror Stage:
This EVENT takes place at six months usually. The mother plays with her baby in front of the mirror as the baby experiences an image that also waves its arms, jiggles its legs, moves in the excitement of its image, before words, before walking, before experiencing any SELF. 
Jacques Lacan
Beatrice - and Tobias and Caleb - have never experienced the Mirror Stage in the development of the SELF - the ego.

Beatrice has experienced herself as not selfless enough for Abnegation. She doesn't fit in. She doesn't belong.

How is it possible to feel or be selfless if you don't have a self.

Caleb fakes it by assuming a false self.
Tobias constructs a self at Dauntless.


A ZEN story:

A student goes to the zen master wanting to lose his ego.
ZEN master: First bring me an ego to lose.

___________________________________________________________________

"This jubilant assumption of his specular image by the child at the infans stage, still sunk in his motor incapacity and nursling dependence would seem to exhibit in an exemplary situation the symbolic matrix in which the I is precipitated in a primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject." (Lacan ECRITS)

Lacan likens the EVENT to Kohler's Aha! of the ape grasping the stick to get the banana, the beginning moment of intelligence.
The moment as GESTALT!
____________________________________________________________________________

Beatrice has just experienced herself completely in the mirror then looks to her left, where she is multiplied into infinity.
This is an EVENT!

For Beatrice it has never occurred until the Aptitude Test when she experiences the 
EVENT of the Mirror Stage,
which sheds its light on the formation of the I  the Imago that ancient term - as experienced in psychoanalysis. (p.118 Ecrits)

We have only to understand the MIRROR STAGE as an identification, in the full sense that analysis gives to the term: 

namely the transformation that takes place in the subject when s/he assumes an image   

Turning to the left she sees herself multiplied into infinity and turning around again multiplied.
And there are multitudes of images of Beatrice. 
To echo the Walt Whitman quote, "I am multitudes." 
That there is no one person you are. There are changes and they can be made.
Turning around behind her to respond to the command "Choose"
Choose (Now we have had 3 Beatrices)

Beatrice says, "Tell me." She doesn't understand. Choose what as she looks at the luscious raw steak and shiny knife on the pedestal surface.
"Choose before it's too late."
And then it is too late as the growling ferocious dog comes at her and she looks at the now empty pedestal tables. She has missed her chance by refusing to choose.


But how can one choose between options if there is no SELF to do the choosing?

Now she must respond to the simulation - aptitude test - with her instincts, responding to what occurs. Trusting herself to choose now since she is alone with the situation in the simulation. Only now does she experience a self that responds instinctively, rather than complying obediently to demands.


As the multiple ferocious dogs get ready to attack multitple Beatrices, Beatrice assumes the position of satyagraha - passivity in the face of violence. At this moment all the multiples disappear and there is just one Beatrice who now responds in multiple ways to the problems in the Simulation. At this moment Beatrice experiences a SELF who chooses, and who chooses instinctively. 
In a few moments Beatrice has embraced the entire Mirror Stage.
In other words we have TWO egos (at least), if you will. Or rather an unexplainable, pre-linguistic core of a bodily and mental and emotional self that has no words to define it. Just a GESTALT. Identity is irrelevant here. And on this "self" is built the social self, our many identifications, our tweaking of it to present ourselves to our world, our presented and performative self to others.

Exiting from the simulation Tori tells her she must trust herself. The test didn't work on her, she is divergent.

She leaves the building and on the way home sees some "factionless" outside rummaging through the dumpsters. A woman is there that she looks at. For the first time Beatrice sees the Other as a person, not a nameless outcast. And the factionless woman turns, knowing that she is not only being looked at, but that Beatrice SEES her, and she feels shame, quietly walking away from her gaze.

At home she will reflect Caleb's questioning of her result in the test by inverting his question,
"What were your results?"
And Caleb smiles.
Beatrice has felt her SELF and its will to know/power
She will continue questioning at the dinner table.

The infant repeats the Mirror Stage up until 18 months and then tires of it. The chimp tires of it almost immediately as the mirror is empty.
Beatrice repeats it during dinner at home as she turns her spoon over and regards her face in the curved reflection of her spoon. 

Lacan discusses the non-verbal, pre-verbal imago as the unalterable core of the self before all social identifications are piled on top of it, obscuring it to our knowing, enabling us to forget it.
And this is where Lacan brings in the concept, that again ancient concept, of
THE DOUBLE. THE SHADOW. The reflection in the mirror

Reading through Baudrillard-LINK Beatrice will encounter her DOUBLE as Tris, when in a life threatening situation, during her fearscape. She is not alienated, as we are, from her DOUBLE, but converses with it as primitive cultures do.
This isn't real.

Returning to Lacan, the SELF in The Mirror Stage begins to repeat and to imitate others, building up with social identifications a social or second self. Beatrice after entering Dauntless begins by observing how others are running down the stairs, climbing to the platform, getting on the train, jumping off onto the roof.
Copying the others.

And then comes the moment, the EVENT for Beatrice. 

Eric: Who's it gonna be?
Beatrice: Me.

And Beatrice climbs clumsily up on the ledge, gathers her courage, and she jumps first.
Upon landing in the net, Four lifting her out and suggesting a new name, she becomes 
TRIS

She has condensed the Mirror Stage into 2 days.
She now begins the journey of building a social self in Dauntless where she will meet her Double a number of times.
First in warning in fearscapes, then in joy as she "flies" down the zipline and sees herself reflected in the windows of the buildings, 


lastly when expecting to be shot, in acquiescence, at her moment of impending death. The Double appears at the moment of Death. Her Double is silent as she looks at her reflection in a puddle of water as Narcissus did.


We have only to understand the MIRROR STAGE as an identificationin the full sense that psychoanalysis gives to the term: 

namely the transformation that takes place in the subject when s/he assumes an image