Abstract The so-called German Weimar Cinema encompasses a profusion of films that used frame narratives. In the case of Paul Leni’s Waxworks (Das Wachsfigurenkabinett, 1924), as the framing stems from a literary act (the stories are framed by the act of narration), the film proposes the mise-en-abyme technique as a sort of immersion into the intermedial when it deals with notions like speaking, writing, silence, image and cinema. In the case of silent cinema, and especially in Waxworks, the presence of a perverse relation with the medium of writing becomes noticeable (producing a fantasy of writing), since every effort to represent the literary act on film results in an infinite production of silent images, creating a parody effect and even postulating an act of aggression against writing. This confrontational relation between the writing code and the code of the mute image in silent cinema allows us to suggest that there is an inherent inflexibility in the language of silent cinema which does not allow the coexistence of written and spoken word as complementary codes. On the contrary, in silent cinema, the image and the silence of the film seem to work against the word, the spoken word being set forth against silence, and the written word against images.

中文翻译：

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保罗·列尼（Paul Leni）的蜡像作品：通过媒体和哲学从沉默中写出图像

摘要所谓的德国魏玛电影院包含大量使用框架叙述的电影。就保罗·列尼（Paul Leni）的《蜡像馆》（Waxworks）（达斯·沃克斯菲格伦卡比内特，1924年）而言，由于取景是出于文学行为（故事是由叙事行为构成的），因此影片提出了“味精”的技术，作为一种沉浸于其中的技术。涉及说话，写作，沉默，图像和电影等概念的中介。在无声电影的情况下，尤其是在Waxworks中，与写作媒介的不正当关系的存在变得显而易见（产生了写作的幻想），因为尽一切努力表现电影中的文学行为都会产生无限的无声产生。图像，从而产生模仿效果，甚至推测出针对写作的侵略行为。在无声电影院中，书写代码与静音图像的代码之间的这种对立关系使我们建议，在无声电影院的语言中存在固有的不灵活性，这不允许将书面和口头词语作为补充代码并存。相反，在无声电影院中，电影的图像和沉默似乎与单词相反，说话的单词对付沉默，书面的单词对图像不利。