DOCSLIB.ORG

Women in French Newsletter ______

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women in French Newsletter ______ Women in French Newsletter ____________________________________________ Volume 33, Number 2 Fall 2019 and culture of French expression, and President’s Letter other domains of feminist literary Cecilia Beach criticism. An additional purpose of the Alfred University organization is to share information and concerns about the status of women in higher education in the United States and Canada.” While this statement is Dear members of Women in French, accurate, I believe that it does not sufficiently express the importance of As I reflect on my years as either sangha or karma in our president of Women in French in organization. These are the aspects of preparation for this letter, I decided to Women in French that have made my reread a talk I gave at the WIF reception tenure as president such an enriching and at the RMMLA conference in the fall of fulfilling experience. 2015, just before being elected president. For me, Women in French is The message of the talk, which was called above all a community. While I don’t “Women in French: Dharma, Sangha and think scholars working on women authors Karma”, seems even more true to me or women’s issues feel as isolated as they now. As some of you know, I am a yoga did when Women in French was founded, instructor as well as a French professor. I do feel though that it is essential in any In this talk, I explored the history and field to. have a strong, supportive mission of Women in French in relation community of like-minded individuals, to three yogic concepts: dharma, which and in a period when foreign language can be translated variously as duty, departments are often surviving with calling, or mission; sangha or community; and karma or selfless Contents service. I discussed how the mission of President’s Letter 1 Women in French had evolved from its WIF Business and News 3 origins to the present day and suggested Calls for Papers & Conference News 7 that our mission statement does not adequately reflect our identity as an WIF Member Publications and News 19 organization. According to our by-laws Filmo-bibliographie critique 36 “Women in French is an organization organized exclusively for educational “Les neuf vies d’Agnès Varda 1928-2019” Michèle Bissière, UNC at Charlotte purposes […]. Women in French is a voluntary organization of individuals List of Past Bibliographies 52 who wish to promote research on women WIF Roster 55 writing in French, on women in literature www.womeninfrench.org WIF 33.2 FALL 2019 1 fewer faculty, it is essential for those of One of the most fulfilling ways to us in tiny departments to have a participate for me over the years has been community of French scholars at all. But to attend the Women in French “supportive” is perhaps the key word here conference. Next year, we will be having that distinguishes WIF from many other our 10th International Women in French professional organizations At conference at Iowa State University, May conferences, members of Women in 14-16 2020, organized by Michèle Schaal French make an effort to attend each with the help of Arline Cravens and other’s sessions. They give positive, Susan Ireland. The theme of the constructive feedback, and generally ask conference is “Margins: Voices and questions that help their colleagues grow Pathways”. Confirmed plenary speakers as scholars rather than the aggressive include Anne Donadey (San Diego State questions or self-aggrandizing comments University) and writer Claire Legendre one hears in other contexts. WIF sessions (Université de Montréal), whose novel and conferences are a safe and L’Écorchée vive (2009) has been chosen comfortable environment for emerging for the One Book, One WIF initiative. scholars and for more established There will also be a screening of Claire researchers who want to try out new Legendre’s film Bermudes (Nord) and a ideas. We feel comfortable asking our reception at the ISU Museums with a tour WIF colleagues to give us feedback on of the exhibit co-curated by Michèle articles, to review manuscripts, or to Schaal: “World Languages and Cultures write letters of recommendation. (WLC) at The Museums.” I look forward Yet, Women in French would not to seeing you all there! exist if it were not for selfless service. Our new website should be up and From my position as president, I have had running soon thanks to the efforts of the rare and gratifying opportunity of Michèle Schaal, Leah Houk, Stephanie overseeing the innumerable people who Schechner, and Raquelle Bostow. The serve our organization is so many new site will be user-friendly, more different ways, from those who serve in functional and attractive, and easier for an official capacity—officers, committee membership maintenance. If you have members, regional representatives, photos from WIF events, please send editors of WIF Studies and the WIF them to Raquelle, our current Website Newsletter, etc.—to those who mentor and Social Media Manager emerging scholars or conduct mock ([email protected]). interviews with graduate students, those who volunteer to help organize In the meantime, please don’t conferences, who review articles for WIF forget to vote in our December election. Studies, who contribute annotated As in previous years, you will receive an bibliographies of teaching dossiers for the email link from votingplace.net. All WIF Newsletter, who present papers at members will be voting for a new our conferences or submit articles to our President and Vice-President; there will journal, who post on our Facebook page, also be elections for Regional or participate in the graduate student and Representatives for the Midwest and early career scholars’ writing exchange. Rock Mountain regions (see the There are so many ways of participating candidates’ bios on p. 4 of this in Women in French. Newsletter). Many thanks to Susan www.womeninfrench.org WIF 33.2 FALL 2019 2 Ireland, Patrice Proulx (co-VPs), and to Editor in Chief of WIF Studies, all the Arline Cravens, Mercédès Baillageon, while pursuing an impressive research and Névine El Nossary (Regional agenda focusing primarily on women Representatives) for your service to writers of the Belle Epoque (1880-1914) Women in French. I am pleased to and the literature of francophone Quebec. announce that Noëlle Brown starts as our With her passion and dedication to the new Treasurer come January 2020. field, her professionalism and impressive Thank you, Liz Hall, for your service in organizational skills, as well as her sense that role! of humor, compassion, and generosity, Two other people who deserve Juliette exemplifies the karma and recognition for their service to Women in dharma of Women in French. We are so French are Annabelle Rea and Colette fortunate to have her in our sangha! Trout. Annabelle and Colette have both I wish you all a productive and served our organization in many enriching fall. capacities, including as president: Cecilia Beach Anabelle from 1990 to 1995 and Colette from 1995 to 1999. They currently serve on the Nominating Committee which has WIF Business & News the never-ending task of encouraging members to run for office. Annabelle and WIF ELECTIONS 2019 Colette work tirelessly behind the scenes to make sure that our positions are always After the voting period in late fall 2019, filled so that the organization can run WIF will have completed the transition to smoothly year after year. Their job the six new regions (see below for the involves the art of gentle persuasion and listing and the date of the next election). subtle diplomacy, as well as a perceptive Please remember that, in order to vote for sense of the team as a whole and of the a Regional Representative, you must be a strengths of the individual players. In member in good standing from the region addition to ensuring our current positions in question (although, in one case, no are filled, they must always keep an eye candidate from the region has been found, out for emerging scholars who will make a substitute from another region has come sure Women in French thrives well into forward—see Courtney Sullivan’s the future. If you are interested in getting statement, below). All WIF members involved now or in the future, please may vote for the offices of President and make sure you let them know. Vice-President. President and Vice- Finally, I would like to take this President will serve two-year terms; opportunity to thank Juliette Rogers for Regional Representatives remain in place her invaluable service to Women in for three years. French. Juliette organized the 3rd International Women in French We thank these candidates for their Conference at the University of New willingness to serve. Hampshire in 2006, served at vice- president of Women in French from 2003 Annabelle Rea and Colette Trout, to 2007 and president from 2007 to 2011, Nominating Committee Co-Chairs and is now finishing a five-year term as www.womeninfrench.org WIF 33.2 FALL 2019 3 Candidate Statements REGIONAL REPRESENTATIVE FOR THE MIDWEST PRESIDENT Jennifer Howell writes: WIF is a An active member of WIF since serving powerful advocate for women in higher as the Graduate Student Representative, education and for French-language Arline Cravens has been the RMMLA programs, particularly in the US. As a Representative for 9 years, significantly member of WIF and an Associate growing WIF’s presence in the region. Professor of French and Francophone She is co-organizing the 2020 WIF Studies at Illinois State University, I am conference and is a committee member of excited to participate in the development the One Book, One WIF project.
Load more

Recommended publications
  • Catalogo-2015-Digital.Pdf
    132 SND SONIDERO 134 20 000 Days on Earth | 20 000 días en la Tierra 136 Björk: Biophilia Live | Björk: Biophilia en vivo CONTENIDO | CONTENTS 138 The Devil and Daniel Johnston | El diablo y Daniel Johnston 140 A Hard Day’s Night 142 Pulp: A Film About Life, Death and Supermarkets | Pulp: una película sobre la vida, la muerte y los supermercados 144 Serrat y Sabina: el símbolo y el cuate | Serrat & Sabina: Two for the Road 4 PRESENTACIÓN | FOREWORD AMB 146 AMBULANTITOBULANTITO 148 Programa 1: El cielo y otros mundos | The Sky and Other Worlds 20 NOTAS DE PROGRAMACIÓN | PROGRAMMING NOTES 148 Programa 2: Aprender del mundo | Learning From the World 22 ASOMBRO | WONDER Colaboración con Editorial Sexto Piso 148 Programa 3: Anina 56 RF REFLECTOR 150 ENF ENFOQUE 58 Is the Man Who Is Tall Happy?: An Animated Conversation with Noam Chomsky 154 Programa 1: Ritual y cine-trance | Ritual and Cine-trance ¿Es feliz el hombre que es alto?: una conversación animada con Noam Chomsky 156 Programa 2: Mirar lo invisible | Seeing the Invisible 60 Jodorowsky’s Dune | Dunas de Jodorowsky 158 Programa 3: Autoetnografías | Self-ethnographies 62 The Look of Silence | La mirada del silencio 160 Programa 4: El sexto sentido | The Sixth Sense 64 Merchants of Doubt | Mercaderes de la duda 162 Programa 5: Umbrales sensoriales | Sensory Thresholds 66 Point and Shoot | Apunte y dispare 164 Programa 6: El tren de las experiencias | The Train of Experiences 68 The Salt of the Earth | La sal de la tierra 70 Supermensch: The Legend of Shep Gordon | Supermensch: la leyenda de Shep Gordon 166 RTR RETROSPECTIVA 72 The Visit | La visita 170 Programa 1: Nouvelle vague | Nueva ola | New Wave 74 PUL PULSOS 171 Programa 2: Podría ser cualquier lugar, pero es París | It Could Be Anyplace, But It’s Paris 172 Programa 3: Fijar una imagen.
    [Show full text]
  • AGNÈS VARDA INTERVIEW This Interview Was Conducted by Rhonda Richford in Paris on January 31, 2019
    PRESENTS Booking Inquiries: Janus Films Press Contact: Courtney Ott [email protected] • 212-756-8761 [email protected] • 646-230-6847 he final film from the late, beloved Agnès Varda is a characteristically Tplayful, profound, and personal summation of the director’s own brilliant career. At once impish and wise, Varda acts as our spirit guide on a free-associative tour through her six-decade artistic journey, shedding new light on her films, photography, and recent installation works while offering her one-of-a-kind reflections on everything from filmmaking to feminism to aging. Suffused with the people, places, and things she loved—Jacques Demy, cats, colors, beaches, heart-shaped potatoes—this wonderfully idiosyncratic work of imaginative autobiography is a warmly human, touchingly bittersweet parting gift from one of cinema’s most Agnès Varda filming Varda by Agnès luminous talents. France | 2019 | 120 minutes | Color | Stereo | 1.77:1 aspect ratio | Screening format: DCP DIRECTOR’S STATEMENT In 1994, with a retro at the Cinémathèque during that time, I mostly created art or not alone? In color or not in color? française, I published a book entitled installations, atypical triptychs, shacks of Creation is a job. Varda by Agnès. Twenty-five years later, cinema, and I kept making documentaries, The third word is sharing. You don’t the same title is given to my film made of such as The Beaches of Agnès. make films to watch them alone; you make moving images and words, with the same In the middle of the two parts, there films to show them.
    [Show full text]
  • Subjectivitat I Autorepresentació En El Cinema D'agnès Varda
    SUBJECTIVITAT I AUTOREPRESENTACIÓ EN EL CINEMA D’AGNÈS VARDA Imma Merino Serrat TESI DOCTORAL UPF/2012 DIRECTORA DE LA TESI: Dra. Núria Bou i Sala DEPARTAMENT DE COMUNICACIÓ A la Carme, per tot i més, per la vida viscuda i per la que vindrà. Al meu pare, als seus noranta anys. A la meva mare i a la meva tia Maria, que no hi són, però hi són. iii Agraïments A Núria Bou, la meva directora de tesi, per la seva lectura tan atenta i generosa del text; pels seus suggeriments, sempre estimulants; per donar-,me ànims en els moments de defalliment; pel que està escrivint sobre Greta Garbo. A Josep Maria Terricabras, desitjant que es recuperi definitivament de l’accident que va impedir-li assistir al seminari d’Agnès Varda que ell va fer possible a la Càtedra Ferrater Móra de Pensament Contemporani de la UdG. I a la Montserrat i a l’Anna-Maria. A la meva família, per comprendre les meves absències i per tenir cura del pare. A Mireia Llorens, per la seva atenció i sensibilitat, per les notes que em va escriure per orientar-me, pels seus llibres sobre Lawrence d’Arabia i Siegfred Sasoon. A Roger Costa-Pau, per haver llegit i corregit una part substancial del text (l’altra part li dec, com tantes altres coses, a la Carme) amb cura i estima. I a Roser Bover, per haver llegit una part del text amb la mateixa cura i estima. A Xavier Antich pels dinars a Au Port de la Lune, durant els quals li explicava els meus romiatges sobre la tesi; pels textos sobre la mirada que em va fer arribar; per convidar-me a llegir Eloge de la main, d’Henri Focillon; per dur-me una postal de Portugal amb una foto realitzada per Agnès Varda i per enviar-me un autoretrat juvenil de la cineasta en què sembla suspesa a l’aire; i per haver traduït al català “Confins”, de Franco Rella.
    [Show full text]
  • AGNÈS VARDA QUINZE JOURS AVEC RÉTROSPECTIVE 16 -28JANVIER Agnès Varda Dansles Plages D’Agnès 71
    QUINZE JOURS AVEC AGNÈS VARDA AGNÈS AVEC JOURS QUINZE PROGRAMMATION QUINZE JOURS AVEC AGNÈS VARDA RÉTROSPECTIVE 16 - 28 JANVIER Agnès Varda dans Les Plages d’Agnès 71 Agnès Varda in Californialand UN GESTE LIBRE Elle a été la réalisatrice de la Nouvelle Vague, elle l’a même précédée. Elle débute comme photographe avant de réaliser son premier long métrage de fiction en 1954, La Pointe courte, remarqué pour l’audace de sa mise en scène. Cléo de 5 à 7, en 1962, témoigne d’une liberté de ton et de style en même temps qu’il parti- cipe d’une transformation de la pratique du cinéma menée tambour battant par une nouvelle génération. Depuis, elle n’a cessé de passer et repasser les fron- tières entre fiction et documentaire, essai et récit : Le Bonheur, Documenteur, Mur Murs, Sans toit ni loi, Les Glaneurs et la Glaneuse, Les Plages d’Agnès… Cinéaste féministe, elle a toujours promis par ses films comme ses installations CINEMATHEQUE.FR un dépassement des genres, des comportements normés comme des limites Agnès Varda mode habituelles du cinéma lui-même. d’emploi : retrouvez une sélection subjective de 5 Ce qui frappe en premier lieu quand on prend en écharpe le corpus d’Agnès Varda, films dans la filmographie d’Agnès Varda, comme c’est son amplitude protéiforme. La native d’Ixelles (Belgique) a travaillé et joué autant de portes avec toutes les possibilités du cinéma : courts et longs métrages, fictions et docu- d’entrée dans l’œuvre. mentaires, noir et blanc et couleurs, argentique et numérique… Son travail a fini par déborder bien au-delà des limites du champ du cinéma, jusque dans les espaces À LA BIBLIOTHÈQUE de la Fondation Cartier ou sous le dôme vénérable du Panthéon à l’occasion de la cérémonie d’hommage aux Justes de France.
    [Show full text]
  • Chick, Kristine Robbyn (2011) Re-Framing French Culture
    Chick, Kristine Robbyn (2011) Re-framing French culture: Transformation and renewal in the films of Jean-Luc Godard, Alain Resnais, Agnès Varda and Jacques Tati (1954-1968). PhD thesis. http://theses.gla.ac.uk/3101/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 1! Re-Framing French Culture: Transformation and Renewal in the films of Jean-Luc Godard, Alain Resnais, Agnès Varda and Jacques Tati (1954 – 1968) !"#$%#&'()*++,&(-.#/0( ( 1232( ! September 2011 ( ! School of Modern Languages and Cultures: French Section Faculty of Arts University of Glasgow ! ! ! Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy ! ! Kristine Robbyn Chick 2011 ! 2! ! ! ! Abstract In this dissertation I focus on the cultural transformations and renewal apparent in the films of Godard, Resnais, Varda and Tati in the period 1954-1968. I contend that the Algerian Revolution (1954-1962) – also known as the Algerian War of Independence – contributed to eroding the myth of Résistancialisme and engendered, especially in the generation young enough to be drafted, an initially confused but nevertheless sincere quest for a cause or a Revolution to believe in.
    [Show full text]
  • La Notion De Glanage Dans Les Documentaires D'agnès Varda
    UNIVERSITÉ DE LYON Institut d'Etudes Politiques de Lyon La notion de glanage dans les documentaires d’Agnès Varda : entre analyse et intégration symbolique d’une pratique renouvelée BONNAZ Valentine Master 1 Communication Culture et Institutions, Séminaire Récits, fiction, médias : comprendre et analyser 2016/2017 Sous la direction de RAMPON Jean-Michel Composition du jury : RAMPON Jean-Michel et SANIER Max, maitres conférenciers en sciences de l'information et de la communication à l’Institut d’Etudes Politiques de Lyon. 2 La notion de glanage dans les documentaires d’Agnès Varda : entre analyse et intégration symbolique d’une pratique renouvelée 3 Sommaire Sommaire : p.4 Modalités de diffusion des travaux de recherche des étudiants de Science Po Lyon : p.6 Déclaration anti-plagiat : p.7 Remerciements : p.8 Introduction : p.9 I- Le glanage comme pratique qui interroge l’importance des figures de la marginalité dans le cinéma documentaire vardien : p.16 A- Entre glaneurs et vagabonds : faire exister l’Autre : p.16 1- La démarche modeste de l’objectif de Varda : Les Glaneurs et la Glaneuse et Deux ans après : _ p.16 2- Une réflexion étendue à l’ensemble de son cinéma documentaire : p.22 3- Sortir de l’anonymat : l’importance du processus d’individuation chez Varda : p.28 B- Un refus du conformisme à l’industrie cinématographique et à son fonctionnement : p.31 1- Varda « Grand-mère de la Nouvelle Vague » ? : p.31 2- Une externalité relative… : p.34 3- …Mais un besoin de pratiquer le cinéma librement : l’affranchissement des règles de production
    [Show full text]
  • Les Glaneurs. (1,37)
    SOMMAIRE LES GLANEURS ET LA GLANEUSE AGNÈS VARDA LE FILM Stéphan Krezinski LA RÉALISATRICE 2 GENÈSE DU FILM 4 PERSONNAGES 5 DÉCOUPAGE SÉQUENTIEL 6 DRAMATURGIE 7 ANALYSE D'UNE SÉQUENCE 8 MISE EN SCÈNE & SIGNIFICATIONS 11 INFOS INFORMATIONS DIVERSES 14 PASSERELLES LES GLANEURS DANS L’ŒUVRE DE VARDA 16 LES GLANEURS DANS L’HISTOIRE DU CINÉMA SOCIAL 18 LE FILM & LE SPECTATEUR 22 RELAIS PISTES DE TRAVAIL 25 LA RÉALISATRICE Agnès Varda Compagne de route de la Nouvelle Vague plutôt que partie pre- nante de ce mouvement, comme Jacques Demy, son compa- gnon de vie, lui qui réalisa ses premiers longs métrages Lola, La Baie des Anges, en suivant les préceptes de cette Nouvelle Vague (peu de pellicule, peu d’éclairage, alternance de caméra “lourde” et de caméras portées), mais qui s’engagea de plus en plus dans un cinéma “coloré”, très formel, où se lisait – à travers un regard très personnel – une nostalgie du cinéma hollywoodien et de la tradition française (Les Demoiselles de Rochefort, Peau d’Âne, Une chambre en ville). La souplesse, la légèreté de Varda ne va pas du tout de pair, comme c’est souvent le cas, avec une mise en scène approxima- tive, avec des plans tremblants qui veulent faire “plus vrais”, et qui même dans d’onéreuses fictions hollywoodiennes actuelles, veu- lent faire croire (souvent de façon complaisante et en tout cas peu plaisante pour des spectateurs qui préfèrent être subjugués par les plans qu’effectuer une gymnastique mentale permanente pour Agnès Varda filme. © Ciné-Tamaris. évaluer à quoi aurait pu ressembler une “vraie” mise en scène) qu’il s’agit de plans volés dans un cadre documentaire.
    [Show full text]
  • FACES PLACES) Mob: +44 7962 652 122 [email protected]
    INTERNATIONAL SALES COHEN MEDIA GROUP LLC 750 N. San Vicente Blvd., Suite 1600 West Hollywood, CA 90069 USA Tel: +1 347 287 7089 www.cohenmedia.net Liz Mackiewicz SVP International Distribution [email protected] Tel: +1 310 360 6442 Mob: +1 310 567 9337 INTERNATIONAL PRESS RELATIONS Tilly Miller Mob: +44 7962 652 121 Carly Cadogan (FACES PLACES) Mob: +44 7962 652 122 [email protected] CANNES - DDA PRESS OFFICE A film written and directed HOTEL MAJESTIC Salon Royan 1, 1st Floor by AGNES VARDA and JR 10 La Croisette 06400 Cannes Tel: +33 4 97 06 85 15 1H29 / FRANCE / 1.85 FLAT / 5.1 Downloadable press materials available at: www.le-pacte.com Agnès Varda JR Agnès Varda and JR have gathered a group of willing employees at the Arkema factory (Alpes-de-Haute-Provence). Visages Villages ©Agnès Varda-JR-Ciné-Tamaris, Social Animals 2016 4 - VISAGES VILLAGES (FACES PLACES) VISAGES VILLAGES (FACES PLACES) - 5 Agnès Varda, whose unique cinematic vision since the 1950s has earned her a loyal following of enthusiastic cinephiles around the world, and the iconic photographer/muralist JR, boasting over a million followers on Instagram, have more in common than one might imagine. Both share a lifelong passion for images and how they are created, displayed, and shared. Agnès chose to explore her passion through cinema and documentary, JR through his emotionally arresting open-air photo installations. When JR, a long-time fan, went to meet Agnès at her home on Rue Daguerre, they both knew immediately they wanted to work together. VISAGES VILLAGES (FACES PLACES) documents their heart- warming journey through rural France and the unlikely, tender friendship they formed along the way.
    [Show full text]
  • Ciné Tamaris and Arte France Present
    CINÉ TAMARIS AND ARTE FRANCE PRESENT A FILM BY AGNÈS VARDA 2019 – FRANCE – FEATURE DOCUMENTARY – FRENCH – 1.77 – 115’ 2 SYNOPSIS Agnès Varda takes a seat on a theatre stage. This professional photographer, installation artist and pioneer of the Nouvelle Vague is an institution of French cinema but a fierce opponent of any kind of institutional thinking. In this film, she offers insights into her oeuvre, using excerpts from her work to illustrate – more associatively than chronologically – her artistic visions and ideas. Her lively, anecdote-rich and clever talk is divided into two sections. Firstly, she elucidates her ‘analogue period’ from 1954 to 2000, in which the director is in the foreground. This was the young woman who set out to reinvent cinema, someone who was always open to chance and to moments of documentary, even in fiction; who, with every new film, changed her narrative style. In the second part, Agnès Varda focuses on the years from 2000 to 2018, and shows how she uses digital technology to look at the world in her own, unique way. And started a new life as a visual artist, showing pieces that film goers have never seen. Whether in front of the camera or behind it, Agnès Varda is a visual storyteller who eschews convention and prescribed approaches to drama. Together with some of her fellow travelers, she takes the audience on a journey through her world of unorthodox images. 1957 2018 3 DIRECTOR’S STATEMENT In 1994, with a retro at the French Cinémathèque, I published a book entitled VARDA BY AGNÈS.
    [Show full text]
  • Agnès Varda Season at BFI Southbank
    Wednesday 23 May 2018, London. Over six decades, AGNÈS VARDA has established herself at the vanguard of world cinema. On the eve of her presenting a new commissioned video installation at Liverpool Biennial 2018, and the long-awaited release of her Oscar-nominated documentary Faces Places (Agnès Varda and JR, 2018), out in the UK on Friday 21 September, BFI Southbank will present a two-month retrospective of her work, focusing on her work as an artist experimenting with the moving image. Highlights of the season - AGNÈS VARDA: VISION OF AN ARTIST - will be Agnès Varda In Conversation on Tuesday 10 July and the re-release of Vagabond (1985), Varda’s powerful and heart-breaking account of a defiant and free-spirited woman, playing on extended run from Friday 29 June. The season will take place from Friday 1 June – Tuesday 31 July, and will also include screenings of some of Varda’s best-loved film such as Cléo from 5 to 7 (1962), Mur Murs (1981), The World of Jacques Demy (1995) and The Gleaners & I (2000). The season is presented in partnership with FACT and Picturehouse Cinemas, who will screen a selection of Agnès Varda’s filmography, as well as films curated by the filmmaker, on a weekly basis from July-October as part of the Liverpool Biennial 2018 Film Programme. The season will also feature contextualising talks and events including: - The Many Faces of Agnès Varda which, in partnership with the film and feminism journal Cléo, will trace Varda’s career from her debut to her most recent collaboration, the Oscar-nominated Faces Places
    [Show full text]
  • Agnès Varda 9 - 29 Janvier 2013
    Agnès Varda 9 - 29 JANVIER 2013 Cinéma Institut de l’image ..................................... 9 - 29 JANVIER 2013 La Pointe Cléo de 5 à 7 courte (Fr., 1961) 90 min / DCP (Fr., 1954) 80 min / 35 mm Int. Corinne Marchand, Antoine Agnès Varda Int. Philippe Noiret, Silvia Monfort… Bourseiller… À l’occasion de l’exposition « Agnès Varda en Bouches-du-Rhône » à À Sète, dans le quartier qui borde Cléo, belle et chanteuse, attend les la Galerie 13 du Conseil Général à Aix-en-Provence du 25 janvier au 17 l’étang de Thau et que l’on appelle résultats d’une analyse médicale. À mars, l’Institut de l’image rend hommage à cette grande artiste. La Pointe Courte, un homme revient travers Paris, elle fait des rencontres qui « Elle qui pour commencer fut une grande photographe a exploré toutes les pour les vacances sur les lieux de lui ouvrent les yeux sur le monde… variantes des images qui bougent, toutes les possibilités par elles offertes, son enfance. Il espère faire partager « Cléo de 5 à 7, c’est un portrait de et toutes les fantaisies (…) Chez Agnès Varda, le passé se mêle au présent, à sa jeune épouse son amour pour femme inscrit dans un documen- l’ici et l’ailleurs se marient, en viennent à se confondre, Jacques Demy ces paysages. Le couple, que mine taire sur Paris, mais c’est aussi un rencontre Jim Morrison, le Cuba de la révolution déboule rue Daguerre, l’incompréhension, ne s’intéresse documentaire sur une femme et entraînant avec lui l’Amérique en guerre au Vietnam, le sable file entre les guère à l’existence et aux problèmes l’esquisse d’un portrait de Paris.
    [Show full text]
  • Par Bernard Bastide Un Film D'agnès Varda
    un film d’Agnès Varda par Bernard Bastide LYCÉENS ET APPRENTIS AU CINÉMA SOMMAIRE Avant-propos, synopsis ..................... 1 Agnès Varda, la femme sur la route ........... 2-3 Varda et la Nouvelle Vague ................. 4-5 Puissance des images fixes ................. 6-7 Genèse et fabrication du film .................8 Découpage séquentiel ................... 9-10 FICHE TECHNIQUE Un plan : les trapézistes sur la plage ............ 11 LES PLAGES D’AGNÈS Un film en forme de collage ............... 12-13 France, 2008 Le principe de l’installation ............... 14-15 ¬ Scénario et réalisation : Agnès Varda ¬ Collaboration artistique : Rosalie Varda Une séquence : les miroirs sur la plage ........ 16-17 ¬ Assistants réalisateurs : Benjamin Blanc, Julia Fabry ¬ Images : Alain Sakot, Hélène Louvart, Julia Fabry, L’autobiographie dans le cinéma documentaire .. 18-19 Jean-Baptiste Morin, Agnès Varda ¬ Son : Pierre Mertens, Olivier Schwob, La réception critique ......................20 Frédéric Maury ¬ Musiques originales : Joanna Bruzdowicz, Références bibliographiques ................. 21 Stéphane Vilar, Paule Cornet ¬ Montage image : Agnès Varda, Jean-Baptiste Morin, Baptiste Filloux ¬ Montage son : Emmanuel Soland ¬ Etalonnage : Serge Antony, Bruno Patin ¬ Mixage son : Olivier Goignard ¬ Régie : Nathalie Dages, Jean-Noël Felix ¬ Production : Ciné-Tamaris, Arte France Cinéma ¬ Directrice de production : Cécilia Rose ¬ Distribution France (2008) : Les Films du Losange ¬ Procédés image : 35 mm, couleurs, format 1.85 ¬ Sortie française : 17 décembre 2008 ¬ Durée : 110 minutes ¬ Avec : Agnès Varda, Blaise Fournier, ERRATUM Il nous a été signalé que des sources de citations avaient été négligées dans Vincent Fournier, Andrée Vilar, Stéphane Vilar, l’édition papier du dossier pédagogique consacré au filmLes plages d’Agnès. Nous avons Christophe Vilar, Rosalie Varda, Mathieu Demy, rétabli ces sources dans la version numérique du dossier.
    [Show full text]