Before the Oscar-related thread (which has to wait until I watch Slumdog Millionaire), let’s focus on the pessimism that characterizes the subject as such. The basis of such a pessimistic view is to be found at the very moment of méconnaisance in the mirror phase and later when we enter into the Symbolic, getting sutured into the realm of language, which of course provides us the illusion that we are able to master it. But beneath the very structure of our being there is a void around which we are structured around in the Symbolic, which keeps us from knowing ourselves fully, in the same way language keeps us from verbalizing our true intentions. We cannot utter what we want properly, but we need language anyway. This is the basic logic of psychoanalysis, what Žižek refers to as Coincidentia oppositorum in Television. The oppositions coincidentically unite.
Moreover, what Kaja Silverman states [i.e the (Lacanian) subject is like a narrative] is a bright “manifesto” of the beforementioned pessimism, as with the narrative we are in the “prison house of language” á la Jameson.
The Lacanian psychoanalysis is quite intermedial/interdiscliplinary, thus we might have to reflect on it from such a multiple POVs. But with the misrecognition of ourselves in childhood, we experience the same in our artificial circumstances that are ideologically prefabricated for us.