Autor(es): Martins, Alexandre ; Gavina, Ana ; Many, Eric
Data: 2023
Origem: Rotura - Revista de Comunicação, Cultura e Artes
Assunto(s): Agnès Varda; Travelogue; Cinécriture; Ô saisons, ô châteaux; Du côté de la côte; Agnès Varda; Travelogue; Cinécriture; Ô saisons, ô châteaux; Du côté de la côte; Agnès Varda; Film touristique; Cinécriture; Ô saisons, ô châteaux; Du côté de la côte; Agnès Varda; Travelogue; Cinécriture; Ô saisons, ô châteaux; Du côté de la côte
This paper explores Agnès Vardas’ first documentaries: Ô saisons, ô châteaux (1957) and Du côté de la côte (1958), two films that were commissioned to her by the Office de Tourisme de France. Taking the link between travel and film as a starting point – a link that is present in travelogues, exploration films and tourist films – our journey through these short films is based both on the analysis of the films themselves and on Varda’s speech about their creation. By closely analyzing these strikingly creative pieces, we can find trademarks of Vardian cinema, namely what would come to constitute the foundations of the cinematographic style claimed by Varda herself, that of cinécriture. The use of humor and a sociological and lyrical approach are some of the elements that display her uniqueness as a filmmaker, taking viewers on a geographic-tourist representation, that is also a cinematographic journey.
This paper explores Agnès Vardas’ first documentaries: Ô saisons, ô châteaux (1957) and Du côté de la côte (1958), two films that were commissioned to her by the Office de Tourisme de France. Taking the link between travel and film as a starting point – a link that is present in travelogues, exploration films and tourist films – our journey through these short films is based both on the analysis of the films themselves and on Varda’s speech about their creation. By closely analyzing these strikingly creative pieces, we can find trademarks of Vardian cinema, namely what would come to constitute the foundations of the cinematographic style claimed by Varda herself, that of cinécriture. The use of humor and a sociological and lyrical approach are some of the elements that display her uniqueness as a filmmaker, taking viewers on a geographic-tourist representation, that is also a cinematographic journey.
Cet article s’intéresse aux premiers documentaires d’Agnès Varda: Ô saisons, ô châteaux (1957) et Du côté de la côte (1958), deux films commandés par l’Office de Tourisme de France. En prenant pour point de départ le lien entre l’acte de voyager et celui de filmer- présents dans les récits de voyage, les films d’exploration et les films touristiques -, notre examen de ces deux courts métrages s’appuie à la fois sur l’analyse des films eux-mêmes et sur le discours de Varda au sujet de sa création. En regardant de près ces œuvres créatives sui generis, on peut y retrouver les empreintes du cinéma vardien, à savoir ce qui constitue les fondements du style cinématographique revendiqué par la réalisatrice elle-même, celui de la cinécriture. L’utilisation de l’humour et une approche sociologique et lyrique sont également quelques-uns des éléments qui mettent en avant la singularité de la cinéaste, emmenant le spectateur vers une représentation géo-touristique et celle d’un voyage cinématographique.
This paper explores Agnès Vardas’ first documentaries: Ô saisons, ô châteaux (1957) and Du côté de la côte (1958), two films that were commissioned to her by the Office de Tourisme de France. Taking the link between travel and film as a starting point – a link that is present in travelogues, exploration films and tourist films – our journey through these short films is based both on the analysis of the films themselves and on Varda’s speech about their creation. By closely analyzing these strikingly creative pieces, we can find trademarks of Vardian cinema, namely what would come to constitute the foundations of the cinematographic style claimed by Varda herself, that of cinécriture. The use of humor and a sociological and lyrical approach are some of the elements that display her uniqueness as a filmmaker, taking viewers on a geographic-tourist representation, that is also a cinematographic journey.
