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This resistance of the anal father to critique becomes especially apparent in the case of Mr. Keating in Dead Poets Society. While the film’s final scene shows the students successfully transgressing the demands of the headmaster (the representative of the symbolic father), no such transgression occurs with Keating. Earlier in the film, Keating commands three students to walk around the school courtyard, and when they begin to walk uniformly with the other students clapping in unison, Keating stops them and upbraids them (kindly of course) for their conformity. He urges each student to discover his own individual way of walking—i.e., to find his own private enjoyment. When Charlie Dalton (Gale Hansen) refuses to walk at Keating’s command, this moment of disobedience does not in any way subvert Keating’s authority. On the contrary, Keating points out that Dalton proves his point: his subversive display fits right into Keating’s “lesson plan.” In the face of the anal father’s demand for each student to find his private enjoyment, there is no clear path to subversion. In refusing to play along, one plays along all the more. Unlike the symbolic father, the anal father invites our subversion and thereby quells its subversive sting.
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Todd McGowan (The End of Dissatisfaction: Jacques Lacan and the Emerging Society of Enjoyment (Psychoanalysis and Culture))