ABSTRACT

This article examines Bambi (Sébastien Lifshitz, 2013), a documentary that deals with carefully selected aspects of the life and career of French-Algerian trans* woman Marie-Pierre Pruvot: a showgirl and dancer, ‘Bambi’ was Pruvot’s stage name. The article considers the film through the lens of animation; the author uses this word both technically (as in cinematic movement) and metaphorically (in a more general bringing-to-life sense). Bambi mostly comprises Pruvot’s first-person oral testimony, which is often juxtaposed with still photographs documenting her pre-transition childhood. What is striking is how the stationary camera almost exclusively focuses on Pruvot’s face while she speaks, in contrast to the mobility of the still photographs that depict Pruvot’s past life. In addition, Pruvot essentially rewrites her own archive via spoken testimony, making it clear that she no longer identifies with her past self. Such a reconceptualisation of animation, where a single picture may have a multitude of significations, helps us understand the similarly many-sided qualities of representing what it means to be trans* in film and visual media.

摘要

本文考察了小鹿斑比（Sébastien Lifshitz，2013 年），这是一部精心挑选的法裔阿尔及利亚跨性别女性玛丽·皮埃尔·普鲁沃特的生活和事业的纪录片：歌舞女郎和舞者，“小鹿斑比”是普鲁沃特的艺名。文章从动画的角度来考虑这部电影；作者在技术上（如在电影运动中）和隐喻上（在更一般的赋予生命的意义上）都使用了这个词。小鹿斑比主要包括普鲁沃特的第一人称口头证词，通常与记录她过渡前童年的静态照片并列。令人惊讶的是，静止的相机几乎完全专注于普鲁沃特说话时的脸，与描绘普鲁沃特过去生活的静态照片的移动性形成鲜明对比。此外，普鲁沃特基本上通过口头证词重写了她自己的档案，明确表示她不再认同过去的自己。这种对动画的重新概念化，其中一张图片可能具有多种含义，有助于我们理解在电影和视觉媒体中表现跨性别意味着什么的类似多方面品质。