{"title":"漂移：法国新浪潮内外的Paule Delsol","authors":"Tim Palmer","doi":"10.1080/14715880.2016.1270546","DOIUrl":null,"url":null,"abstract":"Abstract This essay studies the long-overlooked French New Wave filmmaker Paule Delsol, focusing on her debut feature, La Dérive (Drift, 1962–1964). Using archival primary documents, the essay first examines her artistic emergence, her independent mode of production, her interactions with François Truffaut and her outlier status within the New Wave. Second, the essay examines the feminist design of La Dérive, its stylistic and temporal agitations, its considerations of female-centred domestic binds in 1960s France, versus better-known New Wave texts. Third, the essay contrasts La Dérive’s polarised reception, especially its censorship and distribution problems, with Delsol’s enfranchised status at Cahiers du cinéma, emphasising her many published contributions to the New Wave’s agenda.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2017-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1270546","citationCount":"1","resultStr":"{\"title\":\"Drift: Paule Delsol inside and outside the French New Wave\",\"authors\":\"Tim Palmer\",\"doi\":\"10.1080/14715880.2016.1270546\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract This essay studies the long-overlooked French New Wave filmmaker Paule Delsol, focusing on her debut feature, La Dérive (Drift, 1962–1964). Using archival primary documents, the essay first examines her artistic emergence, her independent mode of production, her interactions with François Truffaut and her outlier status within the New Wave. Second, the essay examines the feminist design of La Dérive, its stylistic and temporal agitations, its considerations of female-centred domestic binds in 1960s France, versus better-known New Wave texts. Third, the essay contrasts La Dérive’s polarised reception, especially its censorship and distribution problems, with Delsol’s enfranchised status at Cahiers du cinéma, emphasising her many published contributions to the New Wave’s agenda.\",\"PeriodicalId\":51945,\"journal\":{\"name\":\"Studies in French Cinema\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2017-02-14\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/14715880.2016.1270546\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in French Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/14715880.2016.1270546\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in French Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14715880.2016.1270546","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1
摘要
摘要本文研究了长期被忽视的法国新浪潮电影导演波勒·德尔索尔，重点关注她的处女作《忧郁的人》(漂流，1962-1964)。本文利用档案资料，首先考察了她的艺术出现，她的独立生产模式，她与弗朗索瓦·特吕弗的互动以及她在新浪潮中的异常地位。其次，本文考察了《忧郁》的女性主义设计，它的风格和时间上的骚动，它对20世纪60年代法国以女性为中心的家庭束缚的考虑，以及更知名的新浪潮文本。第三，这篇文章对比了La ddacrive的两极分化的接受，特别是它的审查和发行问题，与Delsol在Cahiers du cinacimma的权利地位，强调了她对新浪潮议程的许多发表的贡献。
Drift: Paule Delsol inside and outside the French New Wave
Abstract This essay studies the long-overlooked French New Wave filmmaker Paule Delsol, focusing on her debut feature, La Dérive (Drift, 1962–1964). Using archival primary documents, the essay first examines her artistic emergence, her independent mode of production, her interactions with François Truffaut and her outlier status within the New Wave. Second, the essay examines the feminist design of La Dérive, its stylistic and temporal agitations, its considerations of female-centred domestic binds in 1960s France, versus better-known New Wave texts. Third, the essay contrasts La Dérive’s polarised reception, especially its censorship and distribution problems, with Delsol’s enfranchised status at Cahiers du cinéma, emphasising her many published contributions to the New Wave’s agenda.
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