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Agn��s Varda

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Published: 01 May 2021
Figure 5. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig. 4 ) and handwritten notes. Courtesy of Rosalie Varda Figure 5. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had More
Image
Published: 01 May 2021
Figure 6. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig. 4 ). Courtesy of Rosalie Varda Figure 6. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig More
Journal Article
Camera Obscura (2021) 36 (1 (106)): 155–185.
Published: 01 May 2021
...Matt St. John Abstract This article explores the Instagram activities of Agnès Varda and her Visages Villages ( Faces Places , France, 2017) codirector JR to consider the role of social media in the film's theatrical release and awards campaign, which led to the film's nomination for Best...
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Journal Article
Camera Obscura (2021) 36 (1 (106)): 61–85.
Published: 01 May 2021
...Nadine Boljkovac Abstract This article considers Vardian acts of listening and (self-)portraiture. With works that celebrate the material world in its myriad forms and scales, from a beloved button to a bottomless sea, Agnès Varda developed a method of empathetic engagement. Her encounters grasped...
FIGURES
Journal Article
Camera Obscura (2021) 36 (1 (106)): 127–153.
Published: 01 May 2021
...Rebecca J. DeRoo Abstract This article examines how Agnès Varda used speeches and activism at the Cannes Film Festival in recent years to reveal and challenge the underrepresentation of female directors in the film industry. At the 2015 Cannes Film Festival, she accepted an honorary Palme (lifetime...
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Journal Article
Camera Obscura (2021) 36 (1 (106)): 215–229.
Published: 01 May 2021
...Figure 5. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had photographed (see fig. 4 ) and handwritten notes. Courtesy of Rosalie Varda Figure 5. Agnès Varda's shooting script for La Pointe Courte (France, 1954), with sketches of shots she had...
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Journal Article
Camera Obscura (2021) 36 (1 (106)): 187–213.
Published: 01 May 2021
... “The Mediterranean, with Two R s and One N, between Sète and Agde , ” 2010). © succession varda Figure 5. Agnès Varda, Dépôt de la cabane de plage qui est aussi une cabine de projection avec sa vidéo “La mer Méditerranée, avec deux r et un n, entre Sète et Agde” (The Depository of the Beach Cabin...
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Journal Article
Camera Obscura (2021) 36 (1 (106)): 1–7.
Published: 01 May 2021
...Rebecca J. DeRoo; Homay King 1. Agnès Varda is mentioned in Camera Obscura 's inaugural issue in 1976, in an interview with Yvonne Rainer conducted by Janet Bergstrom and signed by the editorial collective. “Yvonne Rainer: Interview,” Camera Obscura , no. 1 (1976): 96. In a piece describing...
Journal Article
Camera Obscura (2021) 36 (1 (106)): 9–39.
Published: 01 May 2021
... was known for. These colors, against the backdrop of the Vallejo 's cheery pink and yellow windowpanes, lend a painterly effect to the scene. Color was already a prominent element in Agnès Varda's practice, evidenced in the stunning, anti-illusionist palette of Le Bonheur . Sandy Flitterman-Lewis writes...
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Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
... the more traditional 300,000 francs, which limited her activities to the production of her own films. 17 She became a producer not because she wanted to but because she had to. Each of the films directed by Agnès Varda has its own specific history of funding. Each production is worth studying...
FIGURES
Image
Published: 01 May 2021
Figure 5. Agnès Varda, Dépôt de la cabane de plage qui est aussi une cabine de projection avec sa vidéo “La mer Méditerranée, avec deux r et un n, entre Sète et Agde” ( The Depository of the Beach Cabin That Is a Projection Booth with Its Video “The Mediterranean, with Two R s and One N More
Journal Article
Camera Obscura (2011) 26 (1 (76)): 39–63.
Published: 01 May 2011
...Domietta Torlasco This article interrogates the relation between memory and creation in Monica Bonvicini's installation Destroy She Said and Agnès Varda's film The Gleaners and I , both involving the adoption of digital technology and the simultaneous appropriation of analog materials. It is my...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 153–162.
Published: 01 December 2009
... and tourism-oriented festivals, these competitive showcases are indus- try players that receive intense media coverage. Thus their visible programming commitments to women filmmakers — Agnès Varda, Kathryn Bigelow, Gina Prince-Bythewood, and Samira Makhalbaf were among the many prominent women...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 127–136.
Published: 01 September 1988
... and photojournalism exploded in France after the war. We may know that Agnes Varda emerged directly from the former and that Jean Rouch's ethnographic cinema (properly highlighted by Hillier) was related to the latter, but just what was this revolution of printed images like? How might...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
..., Walter Benjamin charac- terizes Kracauer as a “rag picker at daybreak, lancing with his stick scraps of language and tatters of speech.”60 This well-­worn image of cultural gleaning is one also used to great effect in Agnès Varda’s filmThe Gleaners and I (France, 2000). Like Kracauer and Varda...
Journal Article
Camera Obscura (2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... (The Dreamlife of Angels, France, 1998) and Agnès Varda’s Les glaneurs et la glaneuse (The Gleaners and I, France, 2000) seem unifed primarily by what Martin O’Shaughnessy describes as a “desire to engage with the real,”16 using naturalistic mise-en-scène to foreground localized resistances...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017