Abstract

This article interrogates postmodern and Levinasian conceptions of ethics with recourse to Quentin Tarantino's Reservoir Dogs and certain psychoanalytical concepts formulated in Jacques Lacan's Ethics of Psychoanalysis. Since Levinas, ethical thinking has, in some quarters, moved away from conventional questions about moral agency, rights and social justice, on to a concern towards the ultimate unknowability of `the other'. Ethics depends, for Levinas, on an unpredictable, accidental encounter with something Other, that, in its singularity, demands a response; it is precisely the contingency of the encounter that constitutes the ethical difference from the realm of morality and law. Tarantino's movie narratives are also structured around accidents, disclosing the pain and jouissance of accidental expenditures that lie at the heart of any relation to the Other. In the midst of trauma, the Thing emerges, around which goods and signification circulate, that both delimits the identification of the Good and marks a space beyond moral law that becomes the site of radical ethical questioning.