The scopic field of the specular

1. Does "Salla Tykkä ends her tribute to the Western genre" mean "Salla Tykkä with this white scene of this film starts not to use Western genre any more in her works"?

2. Does "scopic field of the specular" mean "a field of view (scene) that is composed of formed entities instead of formless entities"?

3. Does "evacuated" here mean "leaving and getting rid of"?

Context:

The notion of a dispossessive narcissistic pleasure is important to consider especially in relation to images of the woman, which still carry the burden of fetishistic narcissism. Finnish video artist Salla Tykkä ends her tribute to the Western genre, the three-and-a-half-minute film Lasso 2000, with the image of a white screen over which the soundtrack continues to play, the whiteness having been sought by the camera as it moves in the mini-narrative from the white pallor of a girl’s face looking voyeuristically through a living-room window at a boy lassoing, to the snow-encrusted ground outside. The camera’s tracking shifts the gaze from the scopic field of the specular towards an expansive empty field. Its movement leads us away from a definitive object of possession, which in this case might be the young man, and scatters the gaze in the electronic pulsating whiteness of video static. For me, this blankness generates a field of potential that returns us to the question of what finding one’s love objects along the path of narcissism might mean. It does not necessarily mean the deathly fixation on the reflected image encapsulated by Caravaggio’s Narcissus, 1597–99, but perhaps restores an earlier form of non-objective mirroring which Freud and Lacan were inattentive to, and which psychoanalyst Adam Phillips discusses in Intimacies, the book he co-authored with Leo Bersani, namely the mirroring between mother and infant that occurs before there is a recognition of the mother as a separate self. This mutual mirroring offers a space in which we might conceive of a different kind of narcissistic object relation, which psychoanalyst Christopher Bollas refers to as a transformative object. While I do not want to infantilise the artist, I think that some artists’ works preserve other models of relation in which the object as gaze or desire is neither possessed nor evacuated, but which engenders an environment of becoming without a definitive goal. While some psychoanalysts such as D.W. Winnicott might call this an environment mother, which, as I shall explore in Chapter , tends to idealise maternal femininity, Bollas suggests ‘that the mother of early infancy is less significant and identifiable as an object than as a process that is identified with cumulative internal and external transformations’.