Manchester University Press, 1998 M07 15 - 213 pages
Agnès Varda, one of the major French filmmakers for the last forty years is here celebrated and situated by Alison Smith, by examining both the early films and the later successes, such as Sans Toit ni Loi (1985), Jane B. par Agnès V. (1987) and Jacquot de Nantes (1991). Smith considers Varda’s films in the light of her constant attention to film form, and proposes an integrated analysis of several major themes in her work, through a detailed study of her best-known or most significant films, which are then set in context against her lesser-known, but very extensive, oeuvre. The themes cover such issues as representation of place and community, representation of women and the use of memory, and are linked by a common concern with the process by which Varda transforms reality into constructed films. They owe their form to the combined subjectivity’s of the filmmaker, the subjects filmed, and the audience.
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actors Agnes Agnès Varda appear audience becomes Birkin Bonheur c’est Cahiers du Cinéma camera Catherine Deneuve characters Ciné-Tamaris cinema Cléo Cléo's cliché close-up colour constructed context Corinne Marchand Daguerréotypes Demy Demy's desire documentary Documenteur Emilie episode evokes experience explore fantasy female fiction ﬁgures film-maker ﬁnd ﬁrst French function gaze goat interviews Jacques Jacques Demy Jacques's Jacquot de Nantes Jane Jane Birkin Kung-Fu Master l'autre L'Opéra-Mouffe L'Une chante L’Une look memory Michel Legrand Michel Piccoli mirror Mme Landier Mona Mona's Mona’s movement Mur Murs Music Mystag narrative narrator Nouvelle Vague objects painting Paris past Philippe Noiret photograph Pointe Courte Pomme portrait postcards present protagonists reaction reﬂect relationship Réponse de femmes representation role rue Daguerre seems seen sequence shot signiﬁcant spectacle spectator street Suzanne theme toit ni loi Ulysse Varda's films Varda’s ﬁlms village visual voice-over woman women Yolande Yolande Moreau