Publication
Corporeality and imageness, intermediality and intersensuality in Céline Sciamma’s Portrait of a Lady on Fire
| dc.contributor.author | Pieldner, Judit | |
| dc.date.accessioned | 2025-07-09T08:59:56Z | |
| dc.date.available | 2025-07-09T08:59:56Z | |
| dc.date.issued | 2025-06-23 | |
| dc.description.abstract | O drama romântico de Céline Sciamma de 2019 dá ênfase à representação pictórica relacionada com a questão do olhar feminino [female gaze]. O filme aborda a feminilidade ao empregar de modo quase exclusivo personagens do sexo feminino, mas também ao enfatizar manifestamente o poder do olhar feminino. Partindo de uma análise intersecional (Wilson 2021), o artigo propõe pensar mais a fundo os diferentes modos como o olhar feminino se encontra relacionado com a intermedialidade e a intersensualidade, convidando a um diálogo simbiótico entre os sentidos e as outras artes. Na relação entre pintura e cinema também se abordará o contributo da pintora Hélène Delmaire. O filme de Sciamma dramatiza o processo de transformação em imagem, o qual implica uma objectificação, e o papel da perceção feminina na tentativa de resistir a esse resultado. O processo de pintura torna-se mediador no processamento de emoções, dando voz ao indizível num extravasamento de sensações e de transformações intermediais. | por |
| dc.description.abstract | ABSTRACT - Céline Sciamma’s 2019 romantic drama film places in focus painterly representation accompanied by the female gaze. It addresses femininity not only by employing almost exclusively female characters, but eminently by delving into the power of the female gaze. Departing from the possibilities of intersectional analysis (Wilson 2021), this article proposes to think further on the ways in which the female gaze is related to intermediality and intersensuality, inviting the senses and the other arts to a symbiotic dialogue. In the connection between painting and film, the collaboration of the painter Hélène Delmaire is also investigated. Sciamma’s work dramatizes the process of becoming an image, implying objectification, and the role of the female perception and attachment in resisting to it. The process of painting becomes a mediator in processing emotions, giving voice to the unspeakable in an overflow of sensations and intermedial transformations. | eng |
| dc.identifier.doi | 10.34629/rcdmt.vol.2.n.1.pp91-105 | |
| dc.identifier.eissn | 2795-5788 | |
| dc.identifier.uri | http://hdl.handle.net/10400.21/21963 | |
| dc.language.iso | eng | |
| dc.peerreviewed | yes | |
| dc.publisher | Instituto Politécnico de Lisboa | |
| dc.relation.hasversion | https://journals.ipl.pt/rhinocervs/article/view/883 | |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc/4.0/ | |
| dc.subject | Intermediality | |
| dc.subject | Intersensuality | |
| dc.subject | The female gaze | |
| dc.subject | Corporeality | |
| dc.subject | Imageness | |
| dc.subject | Intermedialidade | |
| dc.subject | Intersensualidade | |
| dc.subject | Olhar feminino | |
| dc.subject | Corporalidade | |
| dc.subject | Imagística | |
| dc.title | Corporeality and imageness, intermediality and intersensuality in Céline Sciamma’s Portrait of a Lady on Fire | por |
| dc.type | journal article | |
| dspace.entity.type | Publication | |
| oaire.citation.endPage | 105 | |
| oaire.citation.issue | 1 | |
| oaire.citation.startPage | 91 | |
| oaire.citation.title | Rhinocervs | |
| oaire.citation.volume | 2 | |
| oaire.version | http://purl.org/coar/version/c_970fb48d4fbd8a85 |