By Delphine Bénézet
Agnès Varda, a pioneer of the French New Wave, has been making radical motion pictures for over part a century. lots of those are thought of via students, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volme considers her creation as an entire, revisiting neglected motion pictures like Mur, Murs/Documenteur (1980—81), and connecting her cinema to contemporary set up paintings. This research demonstrates how Varda has resisted norms of illustration and diktats of creation. It additionally indicates how she has elaborated a private repertoire of pictures, characters, and settings, which all offer perception on their cultural and political contexts. The booklet hence bargains new readings of this director's multifaceted rêveries, arguing that her paintings can be visible as an aesthetically influential and ethically-driven creation the place cinema is either a political and collaborative perform, and a synesthetic artwork shape.
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Additional resources for The Cinema of Agnès Varda: Resistance and Eclecticism (Directors' Cuts)
Shimizu Hiroshi, 1936) depicts the bus driver protagonist rescuing a country girl en route to Tokyo; Wife! Be like a Rose! (Tsuma yo bara no yoni, dir. 35 Even in recent times, the hugely popular Tora-san fi lm series (from 1969 to 1997) by Yamada Yoji has evoked hometown, the space of nostalgia, as the central figure, Kuruma Torajiro, is depicted in a comical mismatch with the social formations of late capitalism. In this case, the hometown is not simply located in the country, where urban cultural standards have long since become prevalent, but rather the series presents shitamachi (the urban downtown neighborhood) as a symbolic locale of a preserved “good old days” and the warm community signified by Torajiro himself.
The fi lm’s omission of such public spaces is an intriguing point in comparison with the tendencies of contemporary national cinema. In contrast, many recent world cinemas deploy particular public spaces to highlight their ethnic and cultural differences from the West. The Wedding Banquet (Taiwan and United States, dir. Ang Lee, 1993) and My Big Fat Greek Wedding (United States and Canada, dir. Joel Zwick, 2002) depict the strength of ethnic family ties over American individualism through the wedding narrative; Yellow Earth (China, dir.
20 In contrast, the city space in interwar popular culture reveals a markedly different discourse of Tokyo, with the figure of an increasingly ubiquitous middle class at the center of the city. My focus on the intertextual links between the city of Tokyo, which became the center of Japanese modernity, and the urban spaces created in the cinema aims to uncover how historical subjects produced a modern space fi lled with the experiences and desires of a new urban middle class. indb 19 11/6/07 3:45:00 PM 20 Nippon Modern flect transformations of the period, such as the development of the modern city, but that it was rather an active agent in modernity’s envelopment of other spaces and temporalities, imagined within urban everyday life.