Abstract

This essay argues that Monika Treut’s use of the non-conventional editing device of the jump cut in Von Mädchen und Pferden (Of Girls and Horses, 2014) points to the temporality and representational limits of lesbian desire in film. The jump cut calls our attention to time, offering the spectator a (brief) experience of absence. If gazing, as represented by repeated shot/reverse shots, is slow, the jump cut ejects us out of linear temporality altogether. We miss a piece of the action, and the jump cut calls our attention to this gap. Treut’s highly nuanced integration of jump cuts into a film that depicts female-female desire constitutes an important intervention into the history of representations of lesbian desire in the cinema. The jump cut, a mode of editing that makes visible that a moment has been missed, performs the dialectic of visibility and invisibility that characterizes lesbian cinema.

摘要

本文论证了莫妮卡·特鲁特 (Monika Treut) 在Von Mädchen und Pferden ( Of Girls and Horses), 2014) 指出了电影中女同性恋欲望的时间性和代表性限制。跳跃剪辑唤起我们对时间的关注，为观众提供一种（短暂的）缺席体验。如果以重复镜头/反向镜头为代表的凝视是缓慢的，那么跳跃剪辑将我们完全赶出线性时间性。我们错过了一个动作，跳切让我们注意到这个差距。Treut 将跳跃剪辑高度微妙地融入一部描绘女性对女性欲望的电影中，这是对电影中女同性恋欲望表现史的重要干预。跳剪是一种剪辑模式，可以让观众看到错过的那一刻，它表现了女同性恋电影特有的可见性和不可见性的辩证法。