Analysis of the Dual Subject Identity Cognitive Construction Mechanism in 100 Flowers Hidden Deep Based on Lacanian Three Worlds Theory

Abstract

Chen Kaige's short film 100 Flowers Hidden Deep guided by the theme of "moving house" serves as a narrative thread, portraying the inner struggles of a modern individual faced with conflicts between tradition and modernity. This conflict not only exists within the protagonist's inner world but also permeates society, leading the film's characters to exhibit different attitudes and behaviors when confronted with various dilemmas. This paper explores how the unique character configurations in the film, hidden beneath the clash of tradition and modernity, project onto Lacan's Three Worlds Theory, offering a fresh interpretation from a film text analysis perspective on the Real, Imaginary, and Symbolic worlds. Starting from the dilemma of the self and the other, this paper interprets the existence and forms of the self across different dimensions, attempting to decipher how the film text constructs the journey of self-recognition for both the protagonist and the audience in a symbolic and psychoanalytic world. This analysis is an integral part of psychoanalytic studies, with profound implications for film text analysis. The film not only provides a new interpretation of character settings and plot arrangements but also offers essential theoretical support for film production and audience comprehension. 100 Flowers Hidden Deep by Chen Kaige demonstrates the importance and value of Lacan's Three Worlds Theory in film text analysis.