The Real, the Imaginary, and the Symbolic are all divisions of the human psyche as defined by Jacques Lacan. The Symbolic is what we as humans live in every day, in that it is the part of the psyche that links all objects in our lives together. The Symbolic, as defined by Lacan, allows us to attach signifiers to everything, differentiating between “I” and “other”. The Real however, is “ineffable” and “impossible [to integrate into the symbolic order] in so far as we cannot express it in language because the very entrance into language marks our irrevocable separation from the Real.” (1) Thus, though we live symbolic lives, constantly unconsciously making connections with everything we encounter; the Real is able to cross into our lives and change our conscious way of thinking forever.

In Steven Spielberg’s classic Duel (1971), one such cross of the Real with the Symbolic is demonstrated. On his way to work, David Mann finds himself behind an old tanker truck and nonchalantly passes the truck without second thought. It is when the truck will not allow David to pass him, and follows him to the first gas station, that David begins to try to rationalize what is going on. David has lived his Symbolic life, driving to work every day without the fear that a tanker truck would try to kill him on the drive, and thus attempts to rationalize to himself why the truck is driving so aggressively towards him. Through a few more stunts and dangerous close-calls, David begins to become fearful for his life, realizing that he cannot make sense of what is happening to him. This inability to comprehend an event is what Lacan describes as the Real. Because David is unable to understand why the truck driver is trying to kill him, and because he cannot make sense of the situation, David’s Symbolic way of life has been struck with a blow from the Real.

This one instance most surely would have changed David’s way of life, in that he could no longer pass someone on the highway without fearing that they may try to kill him. After this life-changing event had taken place, David’s symbolic would have adjusted in order to build a bridge between the new life-threatening event he had just experienced and everyday traffic. This phenomenon of unexplainable events and the human’s attempts to interpret them is what Lacan defines as the Symbolic and the Real.

Felluga, Dino. "Modules on Lacan: On the Structure of the Psyche." Introductory Guide to Critical Theory. Nov 8, 2003. Purdue U. 03-21-2005. (link)

“I don’t believe it... I don’t believe it...”  --David Mann

While most memorable films contain examples of critical film theory, it is rare to find an entire film that acts as an example of a particular theory. Steven Spielberg’s Duel (1971) is one of these films—its narrative is a blueprint in Lacanian theory; most notably in the separation (or lack thereof) between the Real and Symbolic.

Duel begins with a purely Symbolic sequence—a morning traffic and weather report on the radio. Without language (or the tools to break language down), the sounds emanating from the radio would be meaningless. It is only because of language that this arbitrary sound is decoded as “traffic report” and “weather report.” However, Spielberg wastes little time before slamming the protagonist, David Mann (Dennis Weaver), into the Real headlong.

The Real is difficult to grasp because of its primary tenet—that society and all of its forms and functions are nothing more than arbitrary constructions. The road is a good example: few think about the constant threat of death while on the road, and the system of “the road” functions because of it. Road signs, lines, and “rules of the road” themselves do not prevent deadly collisions; rather, it is the trained driver’s understanding of these symbols that instead functions as a safety. Spielberg simply removes this assumption from the equation.

When Mann attempts to pass a big rig driver, standard road procedure is followed. He carefully checks ahead for oncoming cars, waits for a safe spot to pass, and smoothly moves by the truck. However, the driver of the semi truck does not function on the level of the Symbolic—he is clearly insane, and attempts to kill Mann repeatedly. Rather than dealing with this problem in a deliberate, controlled way, Mann is forced to react with his survival instinct.

Spielberg maintains the tension of the film by keeping the threat of the truck constant. Even when it is not seen, the viewer expects it to be just around the next corner. The Real and Symbolic function in much the same way—the Real is often only one turn away. When the Symbolic functions, it is like a smooth car ride. When the Real rears its ugly head, all bets are off.

To say that the movie Duel (Spielberg, 1971) is saturated with the Lacanian idea of Real would be a gross understatement. It is because of this fact that it is difficult to choose one securely anchored moment or scene in the movie to scrutinize the persistence of the Real. One might find a qualifying scene in the diner, where Dennis Weaver delivers an interior monologue about how life is sometimes interrupted by moments that seem as if they are not really happening, as if his thoughts were intended to follow the word “Real” and a colon.

Lacan would assert that the Real is the state of nature from which we have been forever severed by our entrance into language. It is from this vantage point of language that I believe Duel most notably exemplifies the Real. Large portions of the film are in fact devoid of language or dialogue. The spoken word is mostly limited to Weaver’s head and brief interactions with exceedingly minor characters. Even more importantly, there is never any dialogue between the protagonist and the derelict gas tank driver. The lack of language clearly signifies the Real, as it would truly be impossible to experience the Real while language is present (except, of course, if the language is secondary and ascribed to the setting itself or the subsequent scene that this develops), because to speak of the Real deprives of it of everything primal.

The Symbolic world that everyone must live in from day to day is communicated to one another through this language. As we acquire language, we acquire the Symbolic, and as our language grows more complex, the Symbolic grows more complex and become inescapable because of its intricacies. This state of language and symbol allows the self to understand the world that he lives in. This can be seen more clearly in the instances in Duel that communication does in fact take place. The diner, for example (in contrast to its obvious choice as a representation of the Real), exists wholly in the Symbolic. The traveling business man is made easy (as is the audience), by his mundane order of Swiss cheese on rye to a waitress (No ketchup? Ah, the frustrating yet programmed expectations of the Symbolic). The safety of the Symbolic begins to return from the unspeakable horror of the real that exists in the silence of the highway.

Both "The Real" and "The Symbolic" are represented in the film Duel (1971, Steven Spielberg). "The Real" is exemplified outside of language through the character David Mann (Dennis Weaver). During the film, it is left open for the viewer to decide whether the truck is actually following Mann everywhere he goes (and emits large amounts of smoke to show anger at strategic points) or if his psychological paranoia is being depicted onscreen. "The Real" lies behind both truth and deception, but is not either one. This elemental component of "The Real" applies to the mysterious truck, because it can ‘truthfully’ be seen smoking (as though it is steaming mad), but this also leaves the taste of deception (when analyzed) because the audience knows that vehicles are inanimate and therefor cannot express emotion. This uncertainty is what defines "The Real" for David Mann because it is unusual, affects him traumatically, and leaves him thinking, "this just is not right," or "this cannot be happening."

Subconsciously, Mann is experiencing "The Real" while he is in the process of trying to force the experience into "The Symbolic." He is shown having ranting conversations with himself, at times arguing with himself, in an effort to find a plausible explanation for his current situation to which he can assign symbols or assimilate into something that he can comprehend. But he fails because "The Real" is not imaginable; therefore he cannot justify the situation (by rationalizing with himself) because "The Real" cannot be turned into symbols that he can understand.

Most drivers have experienced some form of "road rage" (for example being "given the finger" or honked at) and experiences like these are "The Symbolic." However, after the finger or honk we usually do not get chased down and nearly killed by the other driver—thus "The Real." Mann tries to paper over his experience with the "angry truck" with "The Symbolic" because it would make him feel more at ease, but when he cannot and is faced with "The Real" he is practically pushed over the edge by the traumatic encounter.

As the "flammable" truck re-passes Dave Mann (Dennis Weaver) only to slow down in front of him again, Dave understandably wonders aloud to himself, "How can this be happening?" Dave passed the guy because he was going too slow. And this is the Symbolic: a tiny 2-lane country road somewhere in the California desert, a place where passing is absolutely necessary if you need to get somewhere faster than the person in front of you is willing to go. At least, this is the Symbolic to Dave. The flammable trucker and his dirty boots and regular fit jeans may have an entirely different idea of the symbolic—and is therefore a symbol of the unknown and incomprehensible...

But the moment at which Dave says, "How can this be happening?" is not the moment of the Real striking him with all its trauma.

The truck's brake lights go on and off in front of him, like beady little demon eyes glaring back at him. Dave's symbolic says that this two-lane mountain road is dangerous enough as it is. But as he is pushed down the road at nearly 90 mph, Dave realizes now that this "miserable fathead" isn't joking. Through the windshield, Dave's eyes are wide, sweat glistens on his forehead and sheer terror and bewilderment takes over his entire face. His hair is disheveled. "I don't believe it," he mutters. "I don't believe it!" It is at this moment, this particular moment, when the Real is first revealed. The expression on his face embodies in itself the concept and human understanding and experience of the Real—the Real is outside language, and outside the process of assigning symbols. Dave cannot understand it or integrate it into his symbolic—his encounter is uncomfortable and utterly traumatic. And this is the Real in all its terrifying glory.

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