By Akerman, Chantal; Cabrera, Dominique; Calle, Sophie; McFadden, Cybelle H.; Varda, Agnès; Cabrera, Dominique; Calle, Sophie; Akerman, Chantal; Le Besco, Maïwenn; Varda, Agnès
Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn is the 1st e-book to hyperlink those 5 filmmakers jointly via an research of the connection among filming one’s personal physique and the inventive physique. via engaged creative practices, those girl filmmakers flip the digicam to their our bodies so as to exhibit the method of inventive construction and to provide themselves as filmmakers and artists of their paintings from 1987–2009. by means of making obvious their our bodies, they provide a much wider variety of illustration of girls in French movie. via avant-garde shape, during which tangible corporeal components are made photograph, they remodel representational content material and bring new cinematic our bodies with the facility to steer signifying practices in modern French tradition. via rendering obvious their creative perform and praxis and their digital camera of their work—reflexive practices that still unite those filmmakers—these girls additionally visually declare the position of filmmaker and inventive topic. therefore they determine their authority in a movie within which women’s participation and popularity in their achievements have traditionally been less than that in their male counterparts.
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Extra resources for Gendered frames, embodied cameras : Varda, Akerman, Cabrera, Calle, and Maïwenn
This chapter examines Varda’s filmic practices and their implications for self-representation and reflexivity, since her aging body challenges filmic conventions that privilege young and beautiful bodies and asserts her significance in French cinema. In my analysis, I first situate Varda’s complex place in French cinematic history in order to examine Varda’s attempt to do so herself in Les plages d’Agnès. I then analyze Varda’s filmic practices— specifically her use of cameras, frames, mirrors, and her own body—that both change representational content of women in film and alter narrowly defined meanings of the female body.
How then do female artists try to alter signification pertaining to women’s bodies when they incorporate them in their own work? Can female artists create a different function of woman as sign and woman as object to provide the possibility for new or different meanings of these terms? I argue that through avant-garde filmic practices, contemporary French female directors alter signification pertaining to women’s bodies when they incorporate their own bodies in their films and videos. ” 69 and subsequently argues that “meaning is .
84. Guy Austin, Contemporary French Cinema: An Introduction, 2nd ed. (Manchester: Manchester University Press, 2008). 85. Palmer, Brutal Intimacy, 154. 86. Palmer provides a detailed analysis of this movement in chapter 2 of Brutal Intimacy. 87. Elizabeth M. Bucar, Creative Conformity (Washington, DC: Georgetown University Press, 2011), xiii. 88. Boulé and Tidd, “Introduction,” in Boulé and Tidd, Existentialism and Contemporary Cinema, 13. I Self-Authorization through SelfRepresentation Chapter One Reflected Reflexivity: Agnès Varda’s Aging Female Body In Les plages d’Agnès (2008), named the best documentary at the 2009 César awards, Agnès Varda charts a double trajectory that simultaneously traces her life story and her formidable cinematic career that spans more than half a century.