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The Cinema of Agnès VardaResistance and Eclecticism$
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Delphine Benezet

Print publication date: 2014

Print ISBN-13: 9780231169752

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231169752.001.0001

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Varda’s Ethics of Filming

Varda’s Ethics of Filming

(p.71) Chapter Three Varda’s Ethics of Filming
The Cinema of Agnès Varda

Delphine Bénézet

Columbia University Press

This chapter examines Agnès Varda's ethics of filming and attempts to establish her as a cinéaste passeur, a mediator not only between the filmed subjects and the spectators, but also between a specific space and time and the moment of the screening. It emphasises the factors that dictate Varda's decisions when creating a film, and identifies the two basic elements that serve as foundation for Varda's ethics of filming — relationality and connections. During filming, Varda, as an ‘author’ sees herself as an ‘intermediary who gives her voice to those who have none’. Her approach is based on the encounter with the other, and marked by a consistent concern for the capture and preservation of images. This is most evident in the four films discussed in the chapter: Mur, Murs, Documenteur (1980–81), Sans Toit ni Loi, Les Glaneurs et la glaneuse, and Le Lion volatile (2003).

Keywords:   Agnès Varda, ethics of filmmaking, cinéaste passeur, mediator, relationality, connections, Sans Toit ni Loi, Les Glaneurs et la glaneuse, Le Lion volatile

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