Abstract
This article examines how cinema approaches the representation of disfigured faces in relation to other media (newsreels, photography, literature, paintings, comics). Referring to the crucial distinction made by Levinas between la face and le visage, the author questions the need for camouflage. Stylized uses of masks, such as the superimposition technique, can hide the wounds of war. It can also provide an ethical and ambivalent approach to wounded faces, helping the viewer to access the face through the mask.
© 2019, Revue Intermédialités. The attached document (embargoed until 02/04/2020) is an author produced version of a paper published in INTERMEDIALITY HISTORY AND THEORY OF THE ARTS, LITERATURE AND TECHNOLOGIES uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at the link. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.
© 2019, Revue Intermédialités. The attached document (embargoed until 02/04/2020) is an author produced version of a paper published in INTERMEDIALITY HISTORY AND THEORY OF THE ARTS, LITERATURE AND TECHNOLOGIES uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at the link. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.
| Translated title of the contribution | Disfigured faces or the ethics of the broken screen: From masks to cinematographic faces |
|---|---|
| Original language | French |
| Journal | Intermediality History and Theory of the Arts, Literature and Technologies |
| Volume | 32 |
| DOIs | |
| Publication status | Published - 2 Apr 2019 |
Keywords
- French cinema
- Gueules cassées
