Abstract

The article unveils an analytical clinical sequence with Olga, a teenager associating in a session around a scene from the film Freaks by T. Browning. The text articulates the concepts of look at the camera (Vernet) and gaze by the camera (Bonnet) as giving particular account in the course of the treatment of the construction of scenes, even adolescent fantasies. Olga describes in turn the gaze of a character from the film, at the same time as she deploys her gaze in the space of the session and offering herself to the analyst’s gaze with the sign of a wound on her body. This wound constitutes her like a heroine with a scar, that is to say, a carrier of a sign, a mark, even a Blazon of the female body. The conception of pubertal scenes (Gutton) and Blazons of the adolescent body (Bonnet), will be put in tension with the logic of the gaze by the camera in order to better approach the logic of juvenile sexual theories. We argue that beyond Freud’s three infantile sexual theories, it becomes necessary in adolescent clinical analytics to forge extensions, redesigns and creations of original sexual theories. At the confluence of the infantile and the juvenile, we are trying to formalize the place of the genital in the field of puberty. Our proposal organizes three juvenile sexual theories: first the theory of the genital Blazons, then a theory of the embrace of the hero with the scar; finally a theory of the hero’s test against the horde. The originality of these three juvenile sexual theories is due to the formal structure that gives them to be heard in the discourse of adolescents. So in the knotting between gaze by the camera and juvenile sexual theories appear in the transference the conditions of a construction of the genre in adolescence.

Keywords: Gaze by the camera | pubertal scenes | Blazons | juvenile sexual theories