In Black Panthers, rather than identifying with or speaking for the Black Panther Party, Varda’s cinécriture ‐ her shot choices, camera movement and editing ‐ allows her to insert her commentary about the group’s revolutionary potential while the members determine themselves as subjects rather than accepting their definition by the state. Her film foregrounds the politics of social space, showing how the Panthers transform spaces of circulation like the courthouse and their neighbourhoods into spaces of contestation.
{"title":"Agnès Varda’s cinematic writing as political art in Black Panthers","authors":"R. McLaughlin","doi":"10.1386/sfs_00067_1","DOIUrl":"https://doi.org/10.1386/sfs_00067_1","url":null,"abstract":"In Black Panthers, rather than identifying with or speaking for the Black Panther Party, Varda’s cinécriture ‐ her shot choices, camera movement and editing ‐ allows her to insert her commentary about the group’s revolutionary potential\u0000 while the members determine themselves as subjects rather than accepting their definition by the state. Her film foregrounds the politics of social space, showing how the Panthers transform spaces of circulation like the courthouse and their neighbourhoods into spaces of contestation.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49636634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how Agnès Varda’s short films Ydessa, les ours et etc… (2004) and Ulysse (1983) examine the role of the photograph in relation to memory and the past. Although the photos that each film scrutinizes have been produced and exhibited under different circumstances, they are alike in providing opportunities for Varda to inquire about their status as archival documents and interrogate the versions of the (sometimes idealized) pasts they appear to depict. While there are pleasures, in both films, for viewers gazing at such imagery, both films advocate a more reflexive approach to the fantasized histories and imagined stories on offer.
本文探讨了Agnès Varda的短片《Ydessa》、《les ours et etc.》（2004）和《Ulysse》（1983）如何审视照片在记忆和过去中的作用。尽管每部电影仔细审查的照片都是在不同的情况下制作和展出的，但它们都为瓦尔达提供了机会，让他询问它们作为档案文件的地位，并询问它们所描绘的（有时是理想化的）过去的版本。虽然这两部电影都给凝视这些图像的观众带来了乐趣，但这两部影片都主张对所提供的幻想历史和想象故事采取更具反射性的方式。
{"title":"Manufactured memory and the still photograph: Agnès Varda’s short films Ydessa, les ours et etc… (Ydessa, The Bears and etc…) (2004) and Ulysse (1983)","authors":"Julia Erhart","doi":"10.1386/sfs_00068_1","DOIUrl":"https://doi.org/10.1386/sfs_00068_1","url":null,"abstract":"This article explores how Agnès Varda’s short films Ydessa, les ours et etc… (2004) and Ulysse (1983) examine the role of the photograph in relation to memory and the past. Although the photos that each film scrutinizes have been produced and exhibited under different circumstances, they are alike in providing opportunities for Varda to inquire about their status as archival documents and interrogate the versions of the (sometimes idealized) pasts they appear to depict. While there are pleasures, in both films, for viewers gazing at such imagery, both films advocate a more reflexive approach to the fantasized histories and imagined stories on offer.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47978148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
No Bikini playfully reveals the inherent human complexities that render the body simultaneously a site of discipline and shame as well as one of freedom and enjoyment. This article explores Robin’s embodied experience of her symbolic sex change. It does so via three Lacanian ontological registers, namely: imaginary, symbolic and real.
{"title":"Enjoyment and alienation of an embodied life","authors":"F. Andreescu","doi":"10.1386/sfs_00073_1","DOIUrl":"https://doi.org/10.1386/sfs_00073_1","url":null,"abstract":"No Bikini playfully reveals the inherent human complexities that render the body simultaneously a site of discipline and shame as well as one of freedom and enjoyment. This article explores Robin’s embodied experience of her symbolic sex change. It does so via three Lacanian\u0000 ontological registers, namely: imaginary, symbolic and real.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41755812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Salut les Cubains, Agnès Varda’s short film released in 1963, deploys black-and-white photographs to capture Cuba at a moment of historical transition. Situating the film within the tradition of political films that use a similar formal device, this article explores how the tension between moving and still images in Salut les Cubains honours a momentous present and an uncertain future.
Agnès Varda于1963年发行的短片《Salut les Cubains》采用黑白照片捕捉了历史转折时刻的古巴。本文将这部电影置于使用类似形式手段的政治电影的传统中，探讨了《古巴人》中运动图像和静止图像之间的紧张关系是如何纪念一个重要的现在和一个不确定的未来的。
{"title":"Historicity and photography in Salut Les Cubains","authors":"Brittany Murray","doi":"10.1386/sfs_00066_1","DOIUrl":"https://doi.org/10.1386/sfs_00066_1","url":null,"abstract":"\u0000Salut les Cubains, Agnès Varda’s short film released in 1963, deploys black-and-white photographs to capture Cuba at a moment of historical transition. Situating the film within the tradition of political films that use a similar formal device, this article explores how the tension between moving and still images in Salut les Cubains honours a momentous present and an uncertain future.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43346057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Beside Du Côté de la côte (1958): Agnès Varda’s early applied cinephilia","authors":"Tim Palmer","doi":"10.1386/sfs_00069_1","DOIUrl":"https://doi.org/10.1386/sfs_00069_1","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\u0000 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\u0000 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\u0000 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":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49307100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article describes the advantages of teaching Agnès Varda’s early short film L’Opéra-Mouffe, known in English as Diary of a Pregnant Woman, in an introductory course on film form. This award-winning, sixteen-minute film offers a compelling demonstration of the core characteristics of the essay film, along with readily teachable examples of visual metaphor, cinematography, sound, and editing. Its cultural and auteurist contexts can also complement a variety of curricular topics, including the French New Wave and Left Bank creators, post-war France, and feminist filmmaking. Finally, its focus on Varda’s personal experience of pregnancy also makes L’Opéra-Mouffe an ideal vehicle to introduce radical feminist pedagogies that recognize and value personal experience as a valid way of knowing about the world.
{"title":"Teaching L’Opéra-Mouffe (1958)","authors":"Colleen Kennedy‐Karpat","doi":"10.1386/sfs_00070_1","DOIUrl":"https://doi.org/10.1386/sfs_00070_1","url":null,"abstract":"This article describes the advantages of teaching Agnès Varda’s early short film L’Opéra-Mouffe, known in English as Diary of a Pregnant Woman, in an introductory course on film form. This award-winning, sixteen-minute film offers a compelling demonstration of the core characteristics of the essay film, along with readily teachable examples of visual metaphor, cinematography, sound, and editing. Its cultural and auteurist contexts can also complement a variety of curricular topics, including the French New Wave and Left Bank creators, post-war France, and feminist filmmaking. Finally, its focus on Varda’s personal experience of pregnancy also makes L’Opéra-Mouffe an ideal vehicle to introduce radical feminist pedagogies that recognize and value personal experience as a valid way of knowing about the world.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48931538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is an investigation into how short film ideas are conceived. It examines Ant Plant as a case study of inspiration based in bio-art, the Australian bushfires of 2020 and critical plant studies. The Ant Plant is set in an apocalyptic near future, in a burnt environment. The Guardian seeking to regenerate near-extinct species summons her brethren to deliver rare plants to her at the Greenhouse. A young woman hears the call and sets off on an arduous journey to deliver the key to a conserved plant kingdom – symbiotic Ant Plant.1
{"title":"Germinating the Ant Plant","authors":"G. Dolgopolov","doi":"10.1386/sfs_00072_1","DOIUrl":"https://doi.org/10.1386/sfs_00072_1","url":null,"abstract":"This article is an investigation into how short film ideas are conceived. It examines Ant Plant as a case study of inspiration based in bio-art, the Australian bushfires of 2020 and critical plant studies. The Ant Plant is set in an apocalyptic near future, in a burnt environment. The Guardian seeking to regenerate near-extinct species summons her brethren to deliver rare plants to her at the Greenhouse. A young woman hears the call and sets off on an arduous journey to deliver the key to a conserved plant kingdom – symbiotic Ant Plant.1","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41830971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reads Alanis Obomsawin’s short film When All the Leaves are Gone as a privileged site for understanding the aesthetic politics at stake in her cinematic worldview. Departing from both the conventions of documentary film as well as the filmmaker’s own established style, the aesthetic logic of this short film models a more profound antagonism between the settler and Indigenous worldviews than her work is conventionally understood to embrace.
{"title":"Beyond documentary: Alanis Obomsawin’s cinematic worldview","authors":"Caitlyn Doyle","doi":"10.1386/sfs_00071_1","DOIUrl":"https://doi.org/10.1386/sfs_00071_1","url":null,"abstract":"This article reads Alanis Obomsawin’s short film When All the Leaves are Gone as a privileged site for understanding the aesthetic politics at stake in her cinematic worldview. Departing from both the conventions of documentary film as well as the filmmaker’s own\u0000 established style, the aesthetic logic of this short film models a more profound antagonism between the settler and Indigenous worldviews than her work is conventionally understood to embrace.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41792375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An interview with Claudia Morgado E. on No Bikini","authors":"M. Meek","doi":"10.1386/sfs_00065_7","DOIUrl":"https://doi.org/10.1386/sfs_00065_7","url":null,"abstract":"","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47696116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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