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The Cinema of Agnès VardaResistance and Eclecticism$
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Delphine Benezet

Print publication date: 2014

Print ISBN-13: 9780231169752

Published to University Press Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231169752.001.0001

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date: 24 September 2018

Cinécriture and Originality

Cinécriture and Originality

Chapter:
(p.111) Chapter Five Cinécriture and Originality
Source:
The Cinema of Agnès Varda
Author(s):

Delphine Bénézet

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231169752.003.0006

This chapter considers Agnès Varda's cinécriture, her unique approach to conceiving cinema as an elaborate and potentially powerful combination of moving images, sound, and music. It begins with a section establishing Varda's unorthodox subjects and practices of production, concentrating on four films that illustrate her unique praxis: Elsa la Rose, Uncle Yanco, Les Glaneurs et la glaneuse, and Deux Ans Après. It then discusses Varda's cinécriture as based on an embodied vision of the world by looking into the films Ydessa, les ours et etc., Réponses de Femmes and 7p., cuis., s. de b., … à saisir. These films support the notion that corporeality forms as the core of Varda's cinema of interpellation. Like other forms of enunciational address, such as the direct gaze into the camera, the bodies of the people on screen call the audience's attention.

Keywords:   Agnès Varda, cinécriture, Elsa la Rose, Uncle Yanco, Les Glaneurs et la glaneuse, Deux Ans Après, corporeality, enunciational address

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