ABSTRACT

The ground-breaking director Céline Sciamma observes that her films are often obsessed with the circulation of objects. This article analyses the forms this circulation takes across Sciamma’s first four films (Naissance des pieuvres, Tomboy, Bande de filles and Portrait de la jeune fille en feu), as well as the significance of the objects themselves. Building on insights offered by scholars who have examined Sciamma’s work as an example of a cinema of feminist embodiment and materiality, this article charts new territory by examining the queer ethics of Sciamma’s cinema not through analysis of bodies and embodiment but through the objects that enable, facilitate and nurture the ‘being-in-the-world’ of those bodies and embodiments. From apple cores to green dresses, chewing gum to necklaces, this article will centre on forms of circulation, transmission and exchange of objects, not as detached, inanimate, post-human things in the world but as objects whose presence and whose circulation between characters serve to bring together marginalised bodies in solidaristic relationships fostered through queer economies of exchange.

摘要

开创性的导演 Céline Sciamma 观察到，她的电影经常痴迷于物体的流通。这篇文章分析了席安玛的前四部电影（Naissance des pieuvres、Tomboy、Bande de filles和Portrait de la jeune fille en feu ）的流通形式)，以及对象本身的意义。基于将席安玛的作品作为女权主义化身和物质性电影的例子进行研究的学者所提供的见解，本文通过考察席安玛电影的酷儿伦理，而不是通过对身体和化身的分析，而是通过能够实现的对象，来开辟新的领域，促进和培育这些身体和化身的“在世”。从苹果核到绿色连衣裙，从口香糖到项链，本文将集中讨论物体的流通、传递和交换形式，不是作为世界上孤立的、无生命的、后人类的事物，而是作为在人物之间存在和流通的物体有助于将边缘化的团体聚集在通过酷儿交换经济培育的团结关系中。