Agnès Varda à Los Angeles et l’hypothèse d’une forme cinématographique du vernaculaire
This article aims to address the hypothesis of a filmic form of the vernacular. Originating in John Brinckerhoff Jackson’s ideas on the vernacular landscape, such a hypothesis is based on an analysis of Agnès Varda’s Mur murs and Documenteur. Both shot in Los Angeles in 1980-1981, these two movies d...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Université de Bourgogne
2020-12-01
|
| Series: | Interfaces |
| Subjects: | |
| Online Access: | https://journals.openedition.org/interfaces/1697 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | This article aims to address the hypothesis of a filmic form of the vernacular. Originating in John Brinckerhoff Jackson’s ideas on the vernacular landscape, such a hypothesis is based on an analysis of Agnès Varda’s Mur murs and Documenteur. Both shot in Los Angeles in 1980-1981, these two movies disregard the Hollywood myth in favor of the American vernacular: a documentary devoted to murals, Mur murs unveils an authentic and unknown aspect of the world capital of cinema, whereas Documenteur (a fiction) proposes a peculiar rendering of everyday life. Nevertheless, Varda does not simply strive to transparently depict a specifically American ordinary reality. Quite the contrary, her mise en scène is characterized by a reflexivity establishing a mutual interaction between the landscape shot and the filmic image. So, according to my hypothesis, Varda created an original kind of filmic landscape that may be a filmic form of the vernacular rather than a mere depiction. |
|---|---|
| ISSN: | 2647-6754 |