한국영상문화학회

This study aims to talk about the close-up style and feminism that stand out in the films of director Celine Sciamma, who has been actively engaged and has attracted the world's attention. From ‘Water Lilies’ to ‘Tomboy’ ‘Girlhood’ and 'Portrait of a Lady on Fire'. the films analyzed in this study deal with the theme of girls' growth or women's love, and are sensitive to eliciting new discourse while using the speech method of narrative films. In particular, close-up appears as a key style. In Celine Sciamma's films, close-up plays a major role in driving the discourse on women's films, feminism, and homosexuality, which have been in the blind spot of the dominant film discourse. Here, Technologies of Gender mentioned by Teresa de Lauretis is deeply related. The growth of the characters, their inner needs, and their desire for a new world show various layers of class and race in relation to gender. In addition, in the web of Technologies of Gender that dominates their lives, the characters reveal their subjective possibilities, which appears in the style of close-up. In Celine Sciamma's films, the faces of women, which appear intensively enlarged, are intimate confessions and secure objectivity that is uttered and expressed to someone through a frame. Close-up reveals the individual's subjectivity related to Technologies of Gender by capturing the personal and delicate emotions of the characters' love, pain, and desire. At the same time, it draws discussions on the possibility of social solidarity, homosexuality, and feminism. The subject and object of gaze, which have been expressed in the dominant mainstream film, are dismantled through a characteristic style. This provides an opportunity to form various discourses through a new film language. The dismantling gaze in Celine Sciamma's films proves that the dominant film language was not fixed. Celine Sciamma's films have the skills to record individual history and the boldness to have political implications as a feminist text.