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The mirror stage ( French: stade du miroir) is a concept in the psychoanalytic theory of Jacques Lacan. The mirror stage is based on the belief that infants recognize themselves in a mirror (literal) or other symbolic contraption which induces apperception (the turning of oneself into an object that can be viewed by the child from outside themselves) from the age of about six months.

Mulvey, L. (2013) “Visual Pleasure and Narrative Cinema,” in Penly, C. (ed.) Feminism and Film Theory. Taylor and Francis. Available at: https://www.perlego.com/book/1617150/feminism-and-film-theory-pdfwould best be defined as an amalgam of symbolic and imaginary: imaginary to the extent that we are situated in the specular register and the ego offers us rationalizations of our actions; and symbolic to the extent that most things around us have meaning. (Leader and Groves, 2014) The mirror stage is a drama whose internal thrust is precipitated from insufficiency to anticipation – and which manufactures for the subject, caught up in the lure of spatial identification, the succession of phantasies that extends from a fragmented body-image to a form of its totality that I shall call orthopaedic – and, lastly, to the assumption of the armour of an alienating identity, which will mark with its rigid structure the subject’s entire mental development. ( Écrits: A Selection, 1966, [2020]) Perhaps the most significant application of Lacan’s mirror stage beyond psychology is in film studies. The mirror becomes the movie screen as scholars interrogate experiences of identification at the cinema. In the 1930s, Lacan attended seminars by Alexandre Kojève, whose philosophy was heavily influenced by Hegel. The diachronic structure of the mirror stage theory is influenced by Kojève's interpretation of the master–slave dialectic. Lacan continued to refine and modify the mirror stage concept through the remainder of his career; see below. Mirrors with test marks must be fitted to vehicles which are approved according to EC law (from 01.10.2005).

Jean-Louis Baudry first applied the mirror stage to movies in “Ideological Effects of the Basic Cinematographic Apparatus” (1970, [1974]). Reading the screen as a mirror for the self, Baudry argues that the cinema is “a sort of psychic apparatus of substitution” (1974). Baudry writes, At the same time, she critiques Lacan’s sexist shortcomings. Discussing the mirror stage specifically, she argues that Lacan’s “vision-centredness [...] privileges the male body as a phallic, virile body and regards the female body as castrated” because To better understand Lacan’s mirror stage, and the difference between the ego and the Subject, we should examine how these ideas fit into other Lacanian theories: namely, the Real, the Imaginary, and the Symbolic. Building on semiology, Lacan proposes a theory of three registers of existence: the Real, the Imaginary, and the Symbolic. Broadly understood, the Real is reality unmediated by signs. There is no presence or absence; it is undifferentiated, unsymbolized, all-encompassing. The Real is impossible to fully understand or describe. Bailly writes,

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Jacques Marie Émile Lacan (1901–1981) was a French philosopher, psychoanalyst, and theorist. He began pursuing medicine in 1920 and specialized in psychiatry in 1926. As a young man, Lacan was a figure in Paris’s intellectual and artistic circles, frequenting the legendary Shakespeare and Co. bookstore, befriending surrealist and avant-garde artists like André Breton and Salvador Dali, and becoming Picasso’s personal physician. By the end of his career, Lacan understood the mirror stage as a structural paradigm rather than a literal moment in human development. This understanding of the mirror stage helps explain subject formation in cases where no reflection can be seen — such as with blind children, for example. The child’s experience of seeing its reflection is exemplary of the process of subject formation but not the sole cause. Construction of the ego and the Subject will still occur even if the child does not see its reflection; the child comes to understand itself as perceived by others and part of larger systems through other sources, such as verbal cues from parental figures.

helps to vindicate psychoanalysis in feminist terms, enabling it to be used as an explanatory model for social and political relations. Lacan can be utilized to explain such notorious concepts as women’s ‘castration’ or ‘penis envy’ in socio-historical and linguistic terms, that is, in terms more politically palatable than Freud’s biologism. (2002)

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Homer, S. (2004) Jacques Lacan. Taylor and Francis. Available at: https://www.perlego.com/book/1618607/jacques-lacan-pdf The relationship that the child forms with its own body — or, more precisely, the image of its body (the specular image) — is the foundational relationship in the realm of the Imaginary. The identification with one’s image produces the ego and is The mirror stage was Lacan’s first original piece of psychoanalytic theory, and he returned to the idea throughout his career. The mirror stage developed layers of meaning as Lacan reconsidered it in light of his other theories. His concepts of the self and other, the ego and the Subject, and the realms of existence (the Real, the Imaginary, and the Symbolic) all relate in some way to the mirror stage.

Mulvey argues that we see movie stars as more complete, more perfect versions of ourselves, just as we, as children, see more whole versions of ourselves in the mirror. Mulvey posits that the cinematic gaze is a male one, with the woman always as the object. The gaze comes in three forms: the gaze of the camera (a voyeuristic one) and the gaze of male characters on screen toward female characters, which combine to create the gaze of the spectator (inherently male). Wallon's ideas about mirrors in infant development were distinctly non- Freudian and little-known until revived in modified form a few years later by Lacan. As Evans [2] writes, "Lacan used this observation as a springboard to develop an account of the development of human subjectivity that was inherently, though often implicitly, comparative in nature." Lacan attempted to link Wallon's ideas to Freudian psychoanalysis, but was met with indifference from the larger community of Freudian psychoanalysts. Richard Webster [1] explains how the "complex, and at times impenetrable paper ... appears to have made little or no lasting impression on the psychoanalysts who first heard it. It was not mentioned in Ernest Jones's brief account of the congress and received no public discussion." Leader, D. and Groves, J. (2014) Introducing Lacan: A Graphic Guide. Icon Books. Available at: https://www.perlego.com/book/569732/introducing-lacan-a-graphic-guide-pdf Valdés, A. (2022) Toward a Feminist Lacanian Left: Psychoanalytic Theory and Intersectional Politics. Routledge. Available at: https://www.perlego.com/book/3237285/toward-a-feminist-lacanian-left-psychoanalytic-theory-and-intersectional-politics-pdf During the mirror stage, then, the child for the first time becomes aware, through seeing its image in the mirror, that his/her body has a total form. The infant can also govern the movements of this image through the movements of its own body and thus experiences pleasure. This sense of completeness and mastery, however, is in contrast to the child’s experience of its own body, over which it does not yet have full motor control. While the infant still feels his/her body to be in parts, as fragmented and not yet unified, it is the image that provides him/her with a sense of unification and wholeness. The mirror image, therefore, anticipates the mastery of the infant’s own body and stands in contrast to the feelings of fragmentation the infant experiences. What is important at this point is that the infant identifies with this mirror image. The image is him/herself. This identification is crucial, as without it – and without the anticipation of mastery that it establishes – the infant would never get to the stage of perceiving him/herself as a complete or whole being. At the same time, however, the image is alienating in the sense that it becomes confused with the self. The image actually comes to take the place of the self. Therefore, the sense of a unified self is acquired at the price of this self being an-other, that is, our mirror image. Lacan describes it like this:Motociklu daļas. Ja gadās, ka ir nepieciešama jauna rezerves daļa Jūsu motociklam, tad arī šis process tiek iedibināts pie mums - pasūtīsim un atvedīsim visas nepieciešamās motocikla detaļas.