{"title":"Beside Du Côté de la côte (1958): Agnès Varda’s early applied cinephilia","authors":"Tim Palmer","doi":"10.1386/sfs_00069_1","DOIUrl":null,"url":null,"abstract":"This article reappraises Agnès Varda’s formative career as she made Du Côté de la côte in 1958. To do this, it explores Varda’s situation within the post-war French film ecosystem before the French New Wave, how she engaged key practices\n of that overlooked era. By studying the ways Varda directly cites peer productions in Du Côté de la côte, we reveal her as heir to, and in dialogue with, a number of significant but neglected practitioners, notably women like Nicole Vedrès, Jacqueline Jacoupy\n and Yannick Bellon. Extrapolating from these creative protocols, we can properly gauge Varda’s primary, and long-term, affinities for short films and essay films, two formats that film studies is often reluctant to recognize, let alone canonize. Nourishing Varda’s work as a post-war\n short film essayist, we will also discover how applied cinephilia ‐ intertextual deployments of film history that catalyse actual filmmaking ‐ informed Varda’s professional rise.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Short Film Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/sfs_00069_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
This article reappraises Agnès Varda’s formative career as she made Du Côté de la côte in 1958. To do this, it explores Varda’s situation within the post-war French film ecosystem before the French New Wave, how she engaged key practices
of that overlooked era. By studying the ways Varda directly cites peer productions in Du Côté de la côte, we reveal her as heir to, and in dialogue with, a number of significant but neglected practitioners, notably women like Nicole Vedrès, Jacqueline Jacoupy
and Yannick Bellon. Extrapolating from these creative protocols, we can properly gauge Varda’s primary, and long-term, affinities for short films and essay films, two formats that film studies is often reluctant to recognize, let alone canonize. Nourishing Varda’s work as a post-war
short film essayist, we will also discover how applied cinephilia ‐ intertextual deployments of film history that catalyse actual filmmaking ‐ informed Varda’s professional rise.
期刊介绍：
The main purposes of SFS are: To stimulate ongoing research on individual short films as a basis for a better understanding of the art form To provide a flow of cutting-edge teaching materials that can be used in courses in which short films are either studied or produced, at film schools or universities To offer fresh inspiration to filmmakers and other professionals working with short films in connection with festivals, national film institutes, regional film centres, etc. While the principal focus is on the short fiction film, other classic forms – such as the short documentary, the short experimental film and the short animation film – are also covered from time to time. In each issue, two productions are singled out for comprehensive presentation and close study. For each film, the reader will find production data, an interview with the director, a shot-by-shot breakdown of the film with a still illustrating every shot, a number of peer-reviewed articles that illuminate the film from a variety of perspectives and a link enabling subscribers to view the film.
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