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Since 1970's psychoanalytic studies on the cinematic spectatorship have been developed through two opposing approaches: the cinema apparatus approach and the cinema fantasy approach. While the former describes spectatorship as being sutured by ideological interpellation, the latter emphasizes the subversive role of disturbing desire in the spectator. As the Freudian concept of fantasy suggests, the spectator would identify with multiple subject positions whether simultaneously or successively. In contrast to the former approach, in the latter one, ideological operation is actually ineffective and the spectator- subject is already autonomous and subversive. Now in view of late Lacanian insight recently revealed by the works of a group of Slovenian Lacanian scholars, however, such optimistic conception leaves room for doubt. This essay is an attempt to delineate a new psychoanalytic approach on spectatorship, founded upon late Lacanian accomplishments. In order to do this, the essay mainly deals with three inter-related concerns: the logic of symbolic order and the reformulation of the concept of ideology; the reexamination of the concept of suture and instances of suturing cinematic symptom; the ethical act of the real in spectatorship and its relation to the feminine spectatorship. The symbolic order of which the paradoxical logic Lacan articulated several times since 1960 is, properly speaking, different both from a static structure in terms of structuralism and from a heterogeneous open whole that post-structuralism implies. It is not only the structure as not-all that constitutively produces impossible jouissance--object a--as its by-product. But it is also the structure that blinds subject to its constitutive lack, providing her with the fantasy scenario of distancing jouissance. Slavoj Zizek, on this basis, reformulates the concept of the ideological interpellation previously presented by Louis Althusser. According to Zizek, ideological interpellation requires no identification/ subjectivization but functions by implying something supposedly hidden behind strange jouissance. In its light, the pursuit of transgressive desires through the fantasy, rather, supports the ideological function of the existing symbolic order. It is the concept of suture that needs to be illuminated again along with the emphasis on the jouissance in spectatorship. The concept has been misappropriated as describing signification on spectatorship. In view of Jacques-Alain Miller’s proper intention, however, it is worth redeeming as indicating jouissance (and subject as its correlative) in spectatorship. Such reexamination allows us to consider a few important but more or less ignored arguments as embodying instances avant la lettre embodying a new psychoanalytic approach on the spectatorship. Among them, the two noteworthy cases are the study of gaze in Hitchcock films by Pascal Bonizer and that of voice in films by Michel Chion. Indeed, the gaze and voice are the paradigmatic elements of cinematic jouissance. But still more importantly, Slavoj Zizek presents a generalized argument about cinematic jouissance, rediscovering the two cases through his brilliant psychoanalytic insights. Inert, spectral, and persistent Thing as remnants of any cinematic significations is, now, generalized as the minimum or basic level of cinematic materialism. The one of the essential questions that psychoanalytic studies on spectatorship have struggled to answer is how the spectator can/or must break with ideological spectatorship. This new approach, bringing to the fore the spectatorship as jouissance, finds its own answer in the very place that both previous approaches have excluded as impossible. In order to really sever herself from the ideology in spectatorship, the spectator-subject must not merely assume identifications thorough fantasy,but identify with indivisible symptom- jouissance as the ultimate remnant of such identifications. This strategy corresponds to the act of grounding the absolute universal of spectatorshipin that it requires the spectator to find herself in void in the structure of spectatorship. It, indeed, indicates the ethical act in terms of the Real. Such liberating gesture in 증상- 향유로서의영화관람성과그실재의윤리_ 박제철 spectatorship needs to be distinguished from the feminine spectatorship described as multiple and/or fluid identifications. Nevertheless, via Lacanian sexuation formulas, the gesture could open the way toward reformulating feminine spectatorship. In so far as the feminine attitude as the combination of not-all and non-exception can be regarded as essential to feminine spectatorship, the liberating spectatorial gesture mentioned above could precisely be the proper feminine spectatorship. During 1970's and 1980's the psychoanalytic studies on spectatorship had been oscillated between two contrasting approaches. The apparatus approach posited too easily the absolute dominance of ideology in spectatorship, whereas the fantasy approach assumed too early the disturbance of ideology by spectatorial desire. Consequently, neither approach led to really effective arguments concerning the break with ideology and transformation of spectator-subject. Though there remain some further essential questions, this rising approach on spectatorship would deserve concretizing and elaborating, at least, in that it raises to the surface a singular place where we as spectators would not too easily fall into despair nor would they become too early optimistic.