English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Open

This essay examines the ways in which Celine Sciamma’s 2019 film Portrait de la Jeune Fille en Feu (Portrait of a Lady on Fire) looks to centralise onscreen homosexual experience through engagement with, and queering of, eighteenth-century art practices and the discourse surrounding them. From its reception of Ovid’s Metamorphoses to ideas espoused by the eighteenth-century art critic and philosopher Denis Diderot, Portrait looks to traditionally peripheral spaces, or edgelands, and the visual and embodied consequences of transcending them. Engaging closely with eighteenth-century processes of artmaking, the film transforms sketches on paper, paint applied to canvas and wood, miniatures held close to the body and erotica annotated in the margins into queer-coded sites used to reflect and document the developing relationship at its heart.

Recentring Peripheral Queerness and Marginal Art in Portrait of a Lady on Fire (2019)