48 research outputs found
Letter dated 24 March 1973 from Varda Conner to Zilla and Lorenzo Richards
No full textLetter dated 24 March 1973 from Varda Conner, wife of Jennings D. Conner of Brigham City, Utah, to Zilla and Lorenzo Richards at Riverside, California, thanking Zilla for a recent letter about Varda\u27s cousin Phyllis; sharing family news and weather problemsJENNINGS CONNER 390 N. 5TH WEST BRIGHAM CITY. UT 8430
Floating Roots: Agnes Varda\u27s Uncle Yanco
No full textThis article traces one source of Agnès Varda\u27s artistic inspiration to Jean “Yanco” Varda, the subject of her 1967 short film Uncle Yanco (US/France). Jean Varda was a peripatetic artist who lived on a houseboat and was part of a bohemian circle that included Henry Miller, Anaïs Nin, Alan Watts, and other luminaries of the San Francisco counterculture. Both Vardas were gleaners and artists. The author argues that both saw the imagination as a place where matter and spirit were reconciled. The article builds on previous work about Varda\u27s The Gleaners and I (Les glaneurs et la glaneuse, France, 2000), exploring Varda\u27s materialist feminism and her use of earthly and tactile materials. The author focuses not only on matter but also on the imagination and the intangible images, colors, and forms that are prominent in her oeuvre, arguing that Yanco served as a muse to his niece
Finding a Voice: Varda\u27s Early Travelogues
No full textThe article analyzes the maturation of cinematic voice and self-styled imperative to speak with images of Agnes Varda\u27s non-fiction travelogues. It looks at the evolution of the literal and figurative voices of Varda\u27s O Saisons o chateaux and Du Cote de la Cote, her transition from being a photographer to film making, and how Varda successfully bridged the gap between voiceover narration and imagery. The author suggests that Varda\u27s travelogues denature preconceived notions of their theme
Agnès Varda : Les chemins de la création
No full textLa création au féminin n’est pas seulement une idée militante des années 1970 : la réflexion critique autour d’auteures femmes méconnues, telle Violette Leduc, ou célèbres, telle Marguerite Duras est en pleine expansion. Une telle réflexion, qui s’appuie sur les divers courants critiques du 20e siècle ainsi que sur la notion de genre, s’étend à tous les domaines de la création artistique et en particulier au domaine du cinéma : Agnès Varda en est actuellement en France le meilleur exemple. Nous démontrons que les procédés spécifiques mis en œuvre par Varda demandent une nouvelle lecture critique. A l’instar de celle qui créa le concept de cinécriture, nous verrons que la critique doit se forger incidemment de nouveaux outils. Nous analyserons en détail les procédés stylistiques et esthétiques récurrents mis en œuvre par Varda tout au long de sa carrière, en incluant au parcours filmique un parcours à travers ses récentes expositions.Women artistic creation is not so far an old idea from the seventies. Criticism has been developed in that way upon not well known authors, like Violette Leduc, or famous ones, like Marguerite Duras. Based upon recent literary criticism, including gender criticism, we must extend women creation to all fields such as movie making. Agnès Varda is in France one of the most famous example of such creation. But reading her specific manner of expression needs also specific words to identify them: such new concepts would fit the author who created the idea of “cinécriture”. The point is to analyse the various processes of making films throughout the impressive carrier of Varda, including those appearing in her last exhibitions
Bakış ve Agnes Varda filmlerinde kadın özne
No full textLisansüstü Programlar Enstitüsü, Kültürel Çalışmalar Bilim DalıBu tez, sinemada kadın öznenin ataerkil eğilimlere yaratılmasına Agnes Varda filmleri üzerinden bir alternatif sunmayı amaçlamaktadır. Tezin ilk bölümü, psikanalizden ve Foucault düşüncesinden ve ikisinin kesiştiği yerde yani öznenin oluşum süreci ile ilgili bir takım fikirleri kavramsallaştırmak için gerekli olan felsefi terminolojiyi tanımlamaya odaklanmaktadır. İkinci bölüm, 1980'lerde Laura Mulvey tarafından ortaya atılan Lacancı Film Teorisindeki kavramların bir incelemesi ve edebiyat taramasından oluşmaktadır. 'Eril bakış' kavramı, Mulvey'in Görsel Zevk ve Anlatı Sineması adlı makalesinin yanı sıra, John Berger'in Görme Biçimleri ve diğer feminist eserler aracılığıyla derinlemesine incelenmiştir. Başka bir deyişle, tez önce 'erkek bakışı' nın anlaşılmasında gerekli olan felsefi terminolojiyi tanımlar, ardından film ve bakma-bakılma bağlamında çağdaş feminist düşünceye odaklanır ve son olarak, egemen ataerkil ideolojinin, 'erkek bakışı' nı kullanılarak nasıl dönüştürülebileceğini inceler. Bu son kısımda, Agnes Varda'nın kadının arzusunu ve Lacan'cı Gerçek konseptlerini filmin anlatısına dahil ederek, bu ataerkil ideolojiyi nasıl bertaraf ettiğinin üzerinde durulmuştur. Anahtar kelimeler: Psikanaliz, Eril Bakış, Agnes Varda, Lacan'cı Film Teorisi, ArzuThis thesis aims to provide an alternative to the patriarchal tendencies in the production of the female subject on film through the work of Agnes Varda. The first chapter of the thesis focuses on defining the philosophical terminology necessary to conceptualize the ideas and theories in the realm of psychoanalysis, Foucauldian thought and at their intersection in subject formation. The second chapter consists of a survey and a literary report of the concepts in Lacanian Film Theory, put forward by Laura Mulvey in the 1980s. The concept of the 'male gaze' is studied in depth via Mulvey's essay Visual Pleasure and Narrative Cinema, as well as John Berger's Ways of Seeing and other feminist literary works. In other words, the thesis first identifies the necessary terminology in the philosophical associations of the 'male gaze', then focuses on contemporary feminist thought in the context of film and the subject-object relationship between the active looker(men) and those being looked at(women). The final part of the thesis is an investigation with an aim to show how the ruling patriarchal ideology can be disarmed by employing techniques such as those used by Agnes Varda, who re-writes the structure of the female subject as a character, as the spectator and as the director/author of film by situating woman's desire and the Lacanian Real within the film narrative. Keywords: Psychoanalysis, Male Gaze, Agnes Varda, Lacanian Film Theory, Desir
Agnès Varda et Nathalie Sarraute : une amitié qui nourrissait des grandes œuvres
No full textEn observant les chefs-d’œuvre qui ont émergé grâce au carrefour entre la littérature et le cinéma pendant mes études, il y avait un exemple en particulière qui m’a frappée comme extraordinaire : l’amitié entre la cinéaste Agnès Varda et l’auteur Nathalie Sarraute. Mon projet propose que le cinéma d’Agnès Varda, particulièrement ses chefs-d’œuvres antérieurs La pointe courte, Cléo de 5 à 7 et Sans Toit ni loi, sont largement inspirés par les contributions de Nathalie Sarraute au mouvement de « Nouveau Roman », surtout par son essai « L’ère du soupçon » et ses romans Tropismes, Martereau, et Le Planétarium. Mon objectif est de montrer comme le style d’écriture révolutionnaire de Sarraute et son lancement du mouvement Nouveau Roman a déclenché le célèbre mouvement cinématographique, la Nouvelle Vague française, dont je suppose origine avec La pointe courte de Varda. Mes recherches explorent comment les romans de Sarraute sont traduits de l’écran par Varda, sans jamais adapter les intrigues explicitement. C’est l’histoire d’une amitié simple entre deux femmes artistes qui a déclenché un des mouvements les plus importants du cinéma français. En étudiant Varda et Sarraute ensemble, ma recherche va suivre comment le lien humain se manifeste aux arts, et ceci en retour gagne du pouvoir dans la sociéte quand ces arts différents entrent en dialogue avec l’un et l’autre.The haunting opening of French New Wave filmmaker Agnès Varda’s 1985 film Vagabond makes a point of dedicating the film to Nathalie Sarraute, a leading author of the New Novel movement. Noting that Varda and Sarraute were among the first women in the New Wave and New Novel movements, the potential connection between them is striking. This thesis seeks to unearth the details of this little-known friendship between Varda and Sarraute. I will begin with an analysis of the feminist movement that preceded these artists’ work, tracing how female connection manifests itself in art, which in turn gains social currency. Subsequently, I examine a series of 5 letters between Varda and Sarraute which span approximately forty years. I finish with a side-by-side analysis of the works of Varda and Sarraute, which demonstrates how these two artists' works are in dialogue with each other. </p
“Virtual Varda”: sustainable legacies, digital communities, and scholarly postcards
No full textThis article presents the story of a symposium dedicated to the life and legacy of Agnès Varda and its move online due to COVID-19, reflecting on this process and its implications for future scholarship. Based on this experience, and using Varda's own late-career digital transition as a model, the author interrogates the potential for online platforms to serve as a kind of scholarly postcard that offers accessible and more sustainable practices for sharing research and building more resilient and inclusive academic communities
Despontar uma linha de fulgor: a cinescritura de Varda à luz da textualidade de Llansol
No full textThe cinema of Agns Varda, called by the author Cinecriture, observed from the theoretical operators or figures of Maria Gabriela Llansol, is the purpose that guides this reading, which aims to peer, in the space of the Vardian work, the conception of 'a true Fiction 'In the light of the textuality -Llansolian key figure. For this purpose, we will see three films of Agns Varda: Cléo from 5 to 7 (1962); The Gleaners and I (2000); and, conducted in collaboration with JR, Faces Places (2017). The connection between desire and scripture in Roland Barthes; the conception of affect developed by Espinosa, through the reading of Gilles Deleuze; the notion of letter in Lacan, as worked out by Lucia Castello Branco; and, also, the question of the transparency of images, found in Francis Wolff, amplified by the Llansolian thought, are the theoretical bases of this work.O cinema de Agnès Varda, denominado pela autora cinecriture, observado a partir dos operadores teóricos, ou figuras, de Maria Gabriela Llansol, é o interesse que orienta esta leitura, que objetiva perscrutar, no espaço da obra vardiana, a concepção de uma verdadeira ficção, à luz da textualidade figura-chave llansoliana. Com esse intuito, percorrer-se-ão quatro filmes de Agnès Varda: Cléo de 5 às 7 (1962); Ulisses (1984); Os catadores e eu (2000); e, realizado em colaboração com o artista urbano JR, Visages Villages (2017). A relação entre desejo e escritura em Roland Barthes; a concepção de afeto desenvolvida por Espinosa, através da leitura de Gilles Deleuze; a noção de letra em Lacan, conforme trabalhada por Lucia Castello Branco; e, também, a questão da transparência das imagens, encontrada em Francis Wolff, amplificadas pelo pensamento llansoliano, são as bases teóricas deste trabalho
The beaches of Agnes : the self-portrait of Varda
No full textTwórczość Agnès Vardy – jedna z najbardziej osobistych i niezależnych w całej historii kina – nie poddaje się terminom genologicznym zwyczajowo stosowanym do filmów. Niemal wszystkie jej filmy fabularne mają wiele cech dokumentalnych, a dokumenty podporządkowane są regułom kreacji artystycznej. W kontekście tych spostrzeżeń autor przedstawia film Vardy Plaże Agnès (Les Plages d’Agnès, 2008), który reżyserka uznaje za swój autoportret definitywny. Lubelski przytacza kolejne argumenty na potwierdzenie tezy, że autoportret to specyficzna formuła gatunkowa Plaż Agnès, a zarazem wzorzec konstrukcyjny tego filmu. Jest to jednak autoportret jedyny w swoim rodzaju – swoisty „autoportret-fantazjowanie”, do którego Varda dodatkowo włącza sfilmowane fragmenty 2rzeczywistych performance’ów ze swoim udziałem, materiały reportażowe oraz nawiązania intertekstualne (cytaty z własnych filmów, reprodukcje obrazów etc.). Jest to autoportret szczególny, którego autorka – choć cały czas w nim obecna – zajmuje się chętniej innymi niż sobą, jak gdyby odtwarzanie własnych wspomnień bardziej służyło nawiązywaniu nowych odświeżaniu dawnych kontaktów z innymi niż zwyczajowemu „poznawaniu siebie”.The work of Agnes Varda – one of the most personal and independent in whole history of the cinema – is not easily classified using the terms of genre traditionally used in film studies. Her feature films usually contain some documentary elements, while her documentaries are constructed following the rules of artistic creation. It is with this in mind that Lubelski presents Varda’s "The Beaches of Agnes" (2008), which the director considers to be her true self-portrait. Lubelski lists arguments in order to confirm the thesis, that the self-portrait is a specific formula for "The Beaches of Agnes", and a construction pattern for the film. But this self-portrait is one of a kind – a self-portrait, and yet imagination, in which Varda includes fragments filmed during real performance shows, in which she took part, news reports, and inter-textual references (quotes from her own films, reproduction of art etc). This is a very particular self-portrait, in which the author – although she is always present – pays more attention to others than herself, as if the reproduction of her own memories served to create new and refresh the old relationships with others, and did not serve the process of “learning more about oneself”
Agnès Varda amidst Images Sensuous Theory and Strategies of Resistance in Feminist Cinema
No full textSensuous theory has enriched the way in which we now analyze
the multisensory film image as well as the embodied experience of the film viewer. Questions
about the corporeality and sensuousness of the director, however, are addressed much less
frequently from this perspective. Yet it is precisely this aspect that strikes me as particularly
interesting, as it allows us to revisit the issue of the creative strategies employed by women in the
cinema, and to pose questions about the meaning and status of the sensuous involvement of the
female director in the production of her film. Does her corporeality, her physiological and sensory
experience affect how the character are created, how the world is depicted, or, more significantly,
the very matter of the film image? Can this involvement also become a conscious tactic of resistance against the dominant narrative and visual structures of “male cinema”? Taking these questions as my point of departure, I focus on the film of Agnès Varda The Beaches of Agnès (Les plages
d’Agnès, 2008), which may be regarded as a statement that is just as personal and self-referential
as it is possible to universalize. Varda uses the film as a way to examine her own life and art in the
context of the history of cinema in the latter half of the 20th century, paying particular attention
to the French New Wave, auteur cinema, independent film, and politically and socially engaged
cinema. In The Beaches of Agnès Varda reiterates questions about her own status as a female
director, accentuating the corporeal, sensuous, and affective connections with the film image,
filmed objects, people, and places, the film crew, and, ultimately, the cinema as such
