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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 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 More
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)): 155–185.
Published: 01 May 2021
... as a staple of red-carpet press for the remainder of the season. Her appearances at the Independent Spirit Awards and the Oscars received meme-like coverage. New York Magazine and Vulture 's Kyle Buchanan tweeted two photos of Varda, with the message “Agnes Varda at the Indie Spirits in an emblazoned...
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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 ...
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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)): 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)): 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
...Homay King Abstract This article traces one source of Agnès Varda's 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...
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Journal Article
Camera Obscura (2021) 36 (1 (106)): 109–125.
Published: 01 May 2021
...Kelley Conway 38. Rose interview. 37. Varda had considered codirecting The Beaches of Agnès with assistant director Didier Rouget but rejected that idea after the shooting of the film's first scene. 36. Rose interview. 35. Riambau, “Cinéaste et restauratice,” 18...
FIGURES
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...
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 (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 (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... Plessis, and Valerie Raoul (Vancouver: University of British Columbia Press, 2003), 35–36. Martin borrows the term cinécriture from Agnès Varda. 51. See Poupou, “Going Backwards, Moving Forwards: The Return of Modernism in the Work of Athina Rachel Tsangari,” for more on similarities between...
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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
... Wertmüller, and Agnès Varda, that underlying structures of male control and violence lie at the heart of intimate relations between men and women, the question then becomes: How does one break through the dominant phallocentric cinematic language with a stylistic freedom that exposes...