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 thecourse of the treatment of the construction of scenes, even adolescent fantasies. Olga describes in turn the gaze of a character from the film, atthe 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 inorder to better approach the logic of juvenile sexual theories. We argue that beyond Freud’s three infantile sexual theories, it becomes necessaryin adolescent clinical analytics to forge extensions, redesigns and creations of original sexual theories. At the confluence of the infantile andthe 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 thegenre in adolescence.El artículo expone una secuencia clínica analítica con una adolescente que, durante una sesión, hace una asociación con una escena de una película. El texto articula los conceptos de mirada a cámara (Vernet) y de mirada a través de la cámara (Bonnet), como nociones que dan cuenta particularmente de la construcción de escenas, e incluso de fantasmas adolescentes. La concepción de las escenas puberales (Gutton) y de los escudos [blasons] del cuerpo adolescente será puesta en tensión con la lógica de la mirada a través de la cámara para abordar mejor la lógica de las teorías sexuales juveniles. La originalidad de estas tres teorías sexuales juveniles radica en la estructura formal que permite percibirlas en el discurso de los adolescentes. Así, en la unión entre la mirada a través de la cámara y las teorías sexuales juveniles, aparecen en la trasferencia las condiciones de una construcción del género en la adolescencia.