Abstract

One of the central ideas of Slavoj Žižek’s recent work is that liberation never occurs without some form of sacrifice. As he puts it, “liberation hurts.” Through its account of the intertwined lives of two magicians competing to outdo each other, Christopher Nolan’s The Prestige explores this idea by emphasizing the necessary role that sacrifice and loss play in the act of artistic creation and in all production of the new. By doing so, it points toward an alternative form of temporality that takes the repetition of loss rather than the idea of the future as its organizing principle. While cinema as an art form tends to prioritize the forward movement of time with a focus on the future, Nolan’s film undermines this idea of time by showing how the focus on the future inevitably leads back to sacrifice and loss rather than escaping it