The argument of this paper concerns the identity of God in Verhoeven's Hollow Man (2000). In Hollow Man the position of the subject is mirrored by the empty position of God: both are revealed as essentially empty positions. Drawing on Lacan's reading of Biblical commandments and Hollow Man's analogy to the story of Cain and Abel, this paper argues for a re-reading of the mirror stage's role in film theory. This paper has two aims: to draw out the theological implications of Lacan's understanding of ethics and to reconsider, in light of this understanding, an ethics of the mirror stage in Hollow Man.
"The Invisible Body of God: Paul Verhoeven's Hollow Man,"
Journal of Religion & Film: Vol. 8:
2, Article 3.
Available at: https://digitalcommons.unomaha.edu/jrf/vol8/iss2/3