ABSTRACT

Céline Sciamma’s uniquely positioned work and public identity present a number of apparent contradictions – especially when considered in the context of French female authorship. After briefly analysing these, this article elaborates its central thesis: that the aporias surrounding Sciamma’s authorship, as manifested primarily in her films and secondarily in parafilmic publications and discourses, may be partially resolved by considering relevant artefacts through the prism of autofiction. Sciamma’s latest film Petite maman can be seen as the fullest expression yet of a self-narrating tendency that close analysis reveals informs her earlier films as well. Finally, the article argues that such a perspective chimes with considering Sciamma’s work as formally queer and thus politically significant in ways that exceed questions of identity politics without merely bowing to Republican universalism.

摘要

席琳·席安玛独特的作品定位和公众身份呈现出许多明显的矛盾——尤其是在法国女性作家的背景下考虑时。在简要分析这些内容之后，本文阐述了其中心论点：围绕席安玛作者身份的难题，主要体现在她的电影中，其次体现在副电影出版物和话语中，可以通过自传小说的棱镜考虑相关文物来部分解决。席安玛最新电影《娇小的妈妈》可以被视为迄今为止对自我叙述倾向的最充分表达，仔细分析表明，她早期的电影也体现了这种倾向。最后，文章认为，这种观点与将席安玛的作品视为形式上的酷儿相一致，因此在政治上的重要性超越了身份政治问题，而不仅仅是屈服于共和党的普遍主义。