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Abstract

Wim Wenders, in his latest film Perfect Days (2023), presents an everyday aesthetic experience conveyed through a visually striking aesthetic characterized by a "peaceful" gaze. This study aims to explore the everyday aesthetics depicted in Perfect Days, which align with traditional Japanese aesthetics, specifically wabi-sabi. The analysis is framed using Todd McGowan's Cinema of Desire theory. The research employs a qualitative descriptive method to examine the subject and utilizes a Psychoanalytic approach for analysis. The findings reveal that object ‘a’ in Perfect Days is highlighted through mise-en-scène and music, as these two cinematic elements facilitate a moment of reconnecting with lost desire. The everyday aesthetics and object a in the film can be categorized into three key areas that convey meaning and represent various desires: the beauty of time, the romance of trauma and loss, and the absence of material drives.

Bahasa Abstract

Wim Wenders, dalam film terbarunya Perfect Days (2023), menyajikan pengalaman estetika sehari-hari yang disampaikan melalui estetika yang mencolok secara visual yang dicirikan oleh 'peaceful gaze'. Penelitian ini bertujuan untuk mengeksplorasi estetika sehari-hari yang digambarkan dalam Perfect Days, yang selaras dengan estetika tradisional Jepang, khususnya wabi-sabi. Analisis ini dibingkai menggunakan teori Cinema of Desire milik Todd McGowan. Penelitian ini menggunakan metode deskriptif kualitatif untuk memeriksa subjek dan memanfaatkan pendekatan Psikoanalitik untuk analisis. Temuan penelitian mengungkapkan bahwa objek 'a' dalam Perfect Days disorot melalui mise-en-scène dan musik, karena kedua elemen sinematik ini memfasilitasi momen untuk berhubungan kembali dengan hasrat yang hilang. Estetika sehari-hari dan objek a dalam film dapat dikategorikan ke dalam tiga area utama yang menyampaikan makna dan mewakili berbagai hasrat: keindahan akan waktu, romantisme trauma dan kehilangan, dan nihilnya akan dorongan material.

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