Abstract In The Lady and the Duke (2001), Eric Rohmer provides an unusual and “conservative” account of the French Revolution by recurring to classical and yet “revolutionary” means. The interpolation between painting and film produces a visual surface which pursues a paradoxical effect of immediacy and verisimilitude. At the same time though, it underscores the represented nature of the images in a complex dynamic of “reality effect” and critical meta-discourse. The aim of this paper is the analysis of the main discursive strategies deployed by the film to disclose an intermedial effectiveness in the light of its original digital aesthetics. Furthermore, it focuses on the problematic relationship between image and reality, deliberately addressed by Rohmer through the dichotomy simulation/illusion. Finally, drawing on the works of Louis Marin, it deals with the representation of history and the related ideology, in order to point out the film’s paradoxical nature, caught in an undecidability between past and present.

中文翻译：

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真实，历史中间的图画。埃里克·罗默（Eric Rohmer）的《淑女与公爵》中的数字美学与历史表征

摘要在《淑女与公爵》（2001）中，埃里克·罗默（Eric Rohmer）通过重复古典而又“革命性”的方式，为法国大革命提供了一种不寻常的“保守”描述。绘画和电影之间的插值产生一个视觉表面，该视觉表面追求即时性和真实性的悖论效果。但同时，它以“现实效果”和批判性元话语的复杂动态强调了图像的表现本质。本文的目的是分析电影采用的主要话语策略，以根据其原始的数字美学来揭示中间效果。此外，它着重于图像与现实之间的问题关系，这是罗默（Rohmer）通过二分法模拟/幻觉故意解决的。最后，借鉴路易斯·马林（Louis Marin）的作品，