Abstract The article focuses on the intermedial relationship between cinema and painting, viewed as a self-referential process, and tries to determine various ways in which this type of signifying process can be used to “encode” various messages (within the work itself), or become an integral part of this (meta)communicative operation. Starting from a broad definition of intermedial references and continuing with a brief recontextualized detour through Gérard Genette’s taxonomy of transtextual instances, the author narrows down a specific technique that exemplifies this type of “codifying” procedure, namely the tableau vivant. In accordance with Werner Wolf’s proposed terminology, he attempts to determine the metareferential potential of this extra-compositional self-referential technique. The case studies focus on films by Peter Greenaway and Lars von Trier.

中文翻译：

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解码 Tableaux Vivants：电影中绘画参考的元指涉潜力

摘要 本文关注电影与绘画之间的中介关系，将其视为一种自我参照的过程，并试图确定这种类型的意指过程可以用来“编码”各种信息（在作品本身内）的各种方式，或者成为这个（元）交流操作的一个组成部分。从对中间指称的广义定义开始，并通过 Gérard Genette 的跨文本实例分类法继续进行一个简短的重新上下文化的绕道，作者缩小了一种特定技术的范围，该技术举例说明了这种“编码”过程，即活生生的画面。根据 Werner Wolf 提出的术语，他试图确定这种超组合自我参照技术的元参照潜力。