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A Genealogy of the Extraterrestrial in American Culture

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The Gaze as philosophical and psychoanalytic trope functions both through <strong>the</strong><br />

personalized o<strong>the</strong>r and <strong>the</strong> depersonalized O<strong>the</strong>r. The former is exemplified <strong>in</strong> Sartre’s parable<br />

<strong>of</strong> <strong>the</strong> watcher <strong>in</strong> <strong>the</strong> park, while <strong>the</strong> latter takes on its most sem<strong>in</strong>al form <strong>in</strong> Lacan’s discussion<br />

<strong>of</strong> <strong>the</strong> sard<strong>in</strong>e can. Both <strong>of</strong> <strong>the</strong>se examples are discussed by Norman Bryson <strong>in</strong> his essay “The<br />

Gaze <strong>in</strong> <strong>the</strong> Expanded Field,” an essay that I draw on extensively <strong>in</strong> <strong>the</strong> follow<strong>in</strong>g discussion. 306<br />

Both formulations <strong>of</strong> <strong>the</strong> Gaze are central <strong>in</strong> def<strong>in</strong><strong>in</strong>g psychoanalysis’ and <strong>the</strong> hypno<strong>the</strong>rapist’s<br />

relation to <strong>the</strong> visual economy <strong>of</strong> abduction and both are key to a structural analysis <strong>of</strong> <strong>the</strong><br />

abduction narrative. Sartre describes enter<strong>in</strong>g a park and f<strong>in</strong>d<strong>in</strong>g himself alone. “Everyth<strong>in</strong>g <strong>in</strong><br />

<strong>the</strong> park is <strong>the</strong>re for him to regard from an unchallenged center <strong>of</strong> <strong>the</strong> visual field...The subject<br />

resides at <strong>the</strong> still po<strong>in</strong>t <strong>of</strong> <strong>the</strong> turn<strong>in</strong>g world, master <strong>of</strong> its prospects, sovereign surveyor <strong>of</strong> <strong>the</strong><br />

scene.” In a second moment, this sovereignty is threatened. Ano<strong>the</strong>r enters <strong>the</strong> park and <strong>the</strong><br />

“watcher is <strong>in</strong> turn watched ... <strong>the</strong> viewer becomes spectacle to ano<strong>the</strong>r’s sight.” 307<br />

Under <strong>the</strong><br />

gaze <strong>of</strong> <strong>the</strong> o<strong>the</strong>r, <strong>the</strong> subject becomes object—opaque, emptied <strong>of</strong> <strong>in</strong>teriority. Sartre fur<strong>the</strong>r<br />

feared that <strong>the</strong> very possibility <strong>of</strong> freedom is underm<strong>in</strong>ed by <strong>the</strong> look <strong>of</strong> <strong>the</strong> o<strong>the</strong>r. “I grasp <strong>the</strong><br />

O<strong>the</strong>r’s look at <strong>the</strong> very center <strong>of</strong> my act as <strong>the</strong> solidification and alienation <strong>of</strong> my own<br />

possibilities.” 308<br />

Becom<strong>in</strong>g an object <strong>of</strong> ano<strong>the</strong>r’s gaze fundamentally underm<strong>in</strong>es <strong>the</strong> subject’s<br />

sense <strong>of</strong> self and <strong>the</strong> self’s attendant capacities. The emotional responses to fall<strong>in</strong>g under <strong>the</strong><br />

gaze <strong>of</strong> <strong>the</strong> O<strong>the</strong>r as understood by Sartre are central to <strong>the</strong> abduction scenario. Mart<strong>in</strong> Jay<br />

argues that “Shame can be called <strong>the</strong> transcendental emotional a priori <strong>of</strong> Sartre’s universe <strong>of</strong><br />

threaten<strong>in</strong>g gazes, so pervasive is it <strong>in</strong> his description <strong>of</strong> <strong>the</strong> result <strong>of</strong> be<strong>in</strong>g seen.” 309<br />

One<br />

306 Norman Bryson, “The Gaze <strong>in</strong> <strong>the</strong> Expanded Field” <strong>in</strong> Vision and Visuality, ed. Hal Foster (Seattle: Bay Press,<br />

1988).<br />

307 Bryson, 88-89.<br />

308 Jean-Paul Sartre, Be<strong>in</strong>g and Noth<strong>in</strong>gness: a Phenomenological essay on Ontology (New York: Wash<strong>in</strong>gton<br />

Square Press, 1966).<br />

309 Mart<strong>in</strong> Jay, Downcast Eyes: The Denigration <strong>of</strong> Vision <strong>in</strong> Twentieth-Century French Thought (Berkeley:<br />

University <strong>of</strong> California Press, 1994) 289.<br />

212

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