Un imaginaire collectif au féminin/masculin : Les Veuves de Noirmoutier d’Agnès Varda

Nathalie Mauffrey
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Abstract

Abstract This article relativises Varda’s feminism. When she films women in her documentaries, because she is herself a woman, she is not only filming herself but is also illustrating her idea of total cinema through her representation of the couple. The installation Les Veuves de Noirmoutier (2005), in which she shows some widows who are doubly like her, first for having lost their husbands and second because they live on the same island of Noirmoutier, partakes of the same utopia. Her documentary shows a poetics of space stemming from Bachelard and Jung which is nurtured by each widow’s account, creating a collective imagination that posits the ambivalent union of the individual and the collective, of reality and the dream, of the feminine and the masculine. This article aims to show the extent to which Varda’s documentary gesture is part of this dialectical materialism of the imagination.
女性/男性的集体想象:阿格尼丝·瓦尔达的《诺尔穆蒂埃的寡妇》
摘要本文对瓦尔达的女权主义进行了比较。当她在纪录片中拍摄女性时,因为她自己就是一个女性,她不仅在拍摄自己,而且通过对这对夫妇的表现来阐述她对整体电影的想法。装置作品《Noirmoutier的面纱》(Les Veuves de Noirmoudier,2005)展示了一些与她有双重相似之处的寡妇,第一是因为失去了丈夫,第二是因为她们生活在同一个Noirmoulier岛上,她们共享着同一个乌托邦。她的纪录片展示了一种源自巴切拉德和荣格的空间诗学,这种诗学是由每个寡妇的叙述所培育的,创造了一种集体想象,假设了个人和集体、现实和梦想、女性和男性的矛盾结合。本文旨在展示瓦尔达的纪实姿态在多大程度上是这种辩证唯物主义想象的一部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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