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拉康的“镜像阶段”理论是电影认同理论的心理学基础,在此基础上博得里认为观众在电影院中看电影时就像婴儿面对镜子一样,视觉发达而行动能力差,极其容易认同摄影机在拍摄的时候为观众预设了的观看焦点,于是观众对电影的认同便产生了;麦茨发展了博得里的电影认同理论,他详细分析了观众观影的心理机制,认为观众在观看电影时不仅仅要与摄影机认同,还要与银幕里的人物或角色认同,对于观众而言,观看电影是一种行之有效的安全的欲望满足方式。
Lacan’s “Mirror Stage” theory is the psychology basis of the theory of film identity. Based on this, Bordeley believes that when watching movies in a movie theater, the audience is as easy as a baby facing the mirror, with developed vision and poor mobility, which is extremely easy Recognition of the camera when the filming for the audience pre-set the focus of the audience, so the audience’s recognition of the movie there; Metz developed Bodley’s theory of film identity, he detailed analysis of the audience’s psychological mechanism, that the audience in the Watching movies not only with the camera recognition, but also with the characters or characters on the screen recognition, for the audience, watching movies is an effective way to satisfy the desire to secure.