中间性与姿态:阿格尼兹·瓦尔达《狮子的爱与谎言》中电影制作工艺的理想化

F. Giraud
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摘要

1969年,《狮子的爱》(…和《谎言》)在好莱坞电影界的边缘制作,在阿格尼斯·瓦尔达的电影史上鲜为人知。作者认为《狮子之恋》在瓦尔达的电影中占据着关键地位,而不是将其视为一种孤立的实验尝试或短暂的题外话。这部电影突出了她的美学的关键理论方面,例如使用古典艺术作为灵感来源,通过作品过滤并与其现代主义特征形成对比,强调电影媒介的有形现实,最后展示了电影制作人的实践。瓦尔达职业生涯中第一次出现在镜头前后。从这个角度来看,作者建议将《狮子之恋》与她后来的电影联系起来分析,如《狮子与龟头》(2000),这些电影发展了类似的思想、手势和主题。受安迪·沃霍尔和波普艺术的启发,也受毕加索新古典主义蚀刻版画的启发,瓦尔达创作了一幅自我反射的拼贴画,她在拼贴画中理想化了电影制作工艺,以回应好莱坞产业。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Intermediality and gesture: idealising the craft of filmmaking in Agnès Varda’s Lions Love (… and Lies)
Abstract Made on the fringes of the Hollywood industry in 1969, Lions Love (… and Lies) is little known in Agnès Varda’s filmography. Instead of considering it as an isolated experimental attempt or as an ephemeral digression, the author argues that Lions Love occupies a pivotal position in Varda’s cinema. The film brings to the fore key theoretical aspects of her aesthetics, such as the use of the classical arts as a source of inspiration filtering through the mise en scène and contrasting with its modernist features, the emphasis on the tangible reality of the cinematic medium, and finally the exhibition of the filmmaker’s practice. For the first time in her career, Varda appears herself behind and before the camera. In this perspective, the author suggests analysing Lions Love in relation to her later films such as Les Glaneurs et la glaneuse (2000), which develops similar ideas, gestures and motifs. Inspired by Andy Warhol and pop art, but also by Picasso’s neoclassical etchings, Varda creates a self-reflexive collage in which she idealises the craft of filmmaking in response to the Hollywood industry.
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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