Abstract Using the film Eternal Sunshine of the Spotless Mind as its object, this paper embodies, explores, and performs the connections and disjunctions between the critical perspectives of psychoanalysis and schizoanalysis. In so doing, we reject the perspectives that have heretofore binarized the two modes of thought as well as the applications that have oversimplified and fetishized their critical vocabularies. This paper is therefore a form of performance that endorses both psychoanalysis and schizoanalysis as modes of thought and being, but most importantly sets forth a mode of embodied critique that transcends the simple deployment of critical vocabulary.

Abstract Using the film Eternal Sunshine of the Spotless Mind as its object, this paper embodies, explores, and performs the connections and disjunctions between the critical perspectives of psychoanalysis and schizoanalysis. In so doing, we reject the perspectives that have heretofore binarized the two modes of thought as well as the applications that have oversimplified and fetishized their critical vocabularies. This paper is therefore a form of performance that endorses both psychoanalysis and schizoanalysis as modes of thought and being, but most importantly sets forth a mode of embodied critique that transcends the simple deployment of critical vocabulary.