法國新浪潮之母安妮華達昨被證實在巴黎的家中因乳癌過世。（法新社）
法國新浪潮之母安妮華達昨被證實在巴黎的家中因乳癌過世。（法新社）
〔記者許世穎／綜合報導〕法國新浪潮之母安妮華達昨被證實在巴黎的家中因乳癌過世，享壽90歲。她是法國電影新浪潮中唯一一位女導演，更與楚浮、高達等人並列為法國新浪潮電影先鋒，尤其1965年的作品《幸福》被視為其代表作。
安妮華達的家人在聲明表示，她在家人和朋友包圍中過世，更稱她是「快樂的女權主義者」和「熱情的藝術家」。她的近作是去年的紀錄片《最酷的旅伴》，紀錄她多年執導經驗的《Varda by Agnes》上月剛在柏林影展首映，成了她的告別作，葬禮預計將於下週二在巴黎舉行。
https://ent.ltn.com.tw/news/paper/1277705
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| 安妮·華達 Agnès Varda | |
|---|---|
 華達在墨西哥瓜達拉哈拉影展獲獎 | |
| 導演 | |
| 國籍 |  法國 |
| 出生 | 1928年5月30日 比利時伊克塞爾 |
| 逝世 | 2019年3月29日（90歲） 法國巴黎 |
| 職業 | 導演、編劇、演員、製片人、裝置藝術家、攝影師 |
| 配偶 | 雅克·德米 （1962年結婚；1990年逝世） |
| 兒女 | Mathieu Demy Rosalie Varda |
| 活躍年代 | 1955年至今 |
安妮·華達（法語：Agnès Varda，法語：[aɲɛs vaʁda]；1928年5月30日－2019年3月29日），法國攝影師及導演。出生於比利時伊克塞爾市。主要作品有：《短角情事》（1955）、《五點到七點的克萊歐》（1962），《天涯流浪女》（1985）、《拾穗者》（1999），《兩年之後》（2002），有「新浪潮祖母」之稱。2019年3月29日因乳癌於家中過世。[1]
安妮·華達原名Arlette Varda，於1928年5月30日於比利時伊克塞爾出生。母親Christiane (née Pasquet)來自法國塞特，父親Eugène Jean Varda則來自安那托利亞的希臘難民家庭，以工程師為業。[2]父母育有五名子女，而她排第三。18歲時，她正式改名為Agnès。第二次世界大戰時，她和家人居於塞特的小船上。安妮·華達在索邦神學院取得文學及心理學學士[3]，她形容移居巴黎的過程實在痛苦，令她來到這個灰色、冷漠和悲傷的城市時，留下恐懼的回憶。她無法與索邦神學院的同學相處，並認為課程古板無聊，與年青人的需要不符。
華達原意修讀藝術史，並成為博物館策展人，但結果她決定往法國沃吉哈攝影學校修讀攝影，她亦曾在法國美術學院學習藝術史及攝影[4] 。成為法國新浪潮主力前，她曾是硬照攝影師，於是她一直在攝影及電影形式之間流動，她曾言：「我拍照，或者電影。或者，將電影放到照片去，又或將照片放到電影去。[5]」華達以攝影開展事業，通過拍攝家庭照和婚禮，很快賺到生活費，但隨之她就想從事創作，探求構圖、形式和意義上的問題[5]。1951年她的友人Jean Vilar創立了國立人民劇院（Théâtre National Populaire），並聘請華達為官方攝影師。事實上在這份工作以前，她已曾在亞維農節擔任舞台攝影師.[4]，其後1951年至1961年期間，她在國立人民劇院工作，此十年間她的知名度日增，並在歐洲各地從事新聞攝影工作。
她的攝影為她其後的電影帶來不少意念，她憶及拍攝第一套電影短角情事，她當時毫無經驗，亦未曾擔任助手或唸電影學校，她就把她想拍攝的一切都拍照，參考照片以安排鏡頭。而她開始以硬照攝影的經驗拍電影，包括鏡頭角度、拍攝距離、鏡頭及燈光等等。
她在1958年居於巴黎時邂逅法國演員及導演雅克·德米，翌年開始同居，1962年正式結婚，直到雅克·德米於1990年去世，兩人育有一子Mathieu Demy，而婚前華達與Antoine Bourseiller有一女Rosalie Varda。2017年，華達的電影最酷的旅伴由女兒擔任製片人。
1971年，她聯署「343蕩婦宣言」，是聯署的343位女性其中一人。宣言由西蒙·波娃撰寫，聯署人承認她們曾經接受墮胎，但是當時法國墮胎為非法行為，她們要求法國政府將墮胎合法化。
華達曾於1971年出席吉姆·莫里森在巴黎拉雪茲公墓的葬禮，葬禮只有五人參與。
她曾在1983年擔任威尼斯影展的評審，2005年則擔任坎城影展的評審。
華達是現代法國電影舉足輕重的人物，她早在法國新浪潮前已開始拍攝電影，而短角情事包含不少法國新浪潮的重要元素。當她以拍攝硬照為業時，她漸漸對拍攝電影產生興趣。縱然當時華達對這個媒介所知不多，甚至在二十五歲時，也只看過大約廿部電影。她後來憶及寫作第一份劇本時，「就像第一次寫書的作家，我寫完以後卻自忖，我想拍攝這個劇本，所以我和一些朋友組成合作社，開始拍攝。」她發現拍攝電影並非易事，比起寫作小說自由度較小，然後她以直覺和女性化的方法完成。華坦亦言，在拍攝短角情事時，她想拍攝一套回應時代的電影，而非跟隨傳統標準。[6]
Agnès Varda | |
|---|---|
_(cropped).jpg) Varda at the Berlinale, February 2019 | |
| Born | Arlette Varda 30 May 1928 Ixelles, Belgium |
| Died | 29 March 2019 (aged 90) Paris, France |
| Occupation | Director, screenwriter, editor, actor, producer, installation artist, photographer |
| Years active | 1951–2019 |
Notable work |
|
| Spouse(s) | Jacques Demy (m. 1962; died 1990) |
| Children | Rosalie Varda Mathieu Demy |
Agnès Varda (French: [aɲɛs vaʁda]; 30 May 1928 – 29 March 2019) was a Belgian-born French film director. Her films, photographs, and art installations focused on documentary realism, feminist issues, and social commentary with a distinctive experimental style.
Film historians have cited Varda's work as central to the development of the French New Wave; her employment of location shootingand non-professional actors were unconventional in the context of 1950s French cinema.[1] Among other awards and nominations over her career, she received honorary Palme d'or and Academy Awards, won a Golden Lion and was nominated for theAcademy Award for Best Documentary Feature.
Varda was born Arlette Varda on 30 May 1928 in Ixelles, Brussels, Belgium, the daughter of Christiane (née Pasquet) and Eugène Jean Varda, an engineer.[2] Her mother was fromSète, France, and her father came from a family of Greek refugees from Asia Minor. She was the third of five children. When she was 18 Varda legally changed her name to Agnès. During World War II Varda lived on a boat in Sète with the rest of her family. Varda attended the Lycée Victor-Duruy and received a Bachelor's degree in literature and psychology from the Sorbonne.[3] She described her relocation to Paris as a "truly excruciating" one that gave her "a frightful memory of my arrival in this grey, inhumane, sad city." She did not get along with her fellow students at the Sorbonne and described classes there as "stupid, antiquated, abstract, [and] scandalously unsuited for the lofty needs one had at that age."[4]
Varda intended to become a museum curator and studied art history at the École du Louvre,[3] but decided to study photography at the Vaugirard school of photography instead.[4]
Varda began her career as a still photographer before becoming one of the major voices of the Left Bank Cinema and the French New Wave. However, she maintained a fluid interrelationship between photographic and cinematic forms: "I take photographs or I make films. Or I put films in the photos, or photos in the films."[5]
Varda discussed her beginning with the medium of still photography: "I started earning a living from photography straightaway, taking trivial photographs of families and weddings to make money. But I immediately wanted to make what I called 'compositions.' And it was with these that I had the impression I was doing something where I was asking questions with composition, form and meaning."[5]
In 1951, her friend (and fellow Sète transplant) Jean Vilar opened the Théâtre National Populaire and hired Varda as its official photographer. Before accepting her position there, she worked as a stage photographer for the Theatre Festival of Avignon.[3] She worked at the Théâtre National Populaire for ten years from 1951-1961, during which time her reputation grew and she eventually got photo-journalist jobs throughout Europe.[4]
Varda's still photography would sometimes inspire her subsequent motion pictures.[6] She recounted: "When I made my first film, La Pointe Courte — without experience, without having been an assistant before, without having gone to film school — I took photographs of everything I wanted to film, photographs that are almost models for the shots. And I started making films with the sole experience of photography, that's to say, where to place the camera, at what distance, with which lens and what lights?" Furthermore, she recalled another example: "I made a film in 1982 called Ulysse, which is based on another photograph I took in 1954, one I'd made with the same bellows camera, and I startedUlysse with the words, "I used to see the image upside down." There's an image of a goat on the ground, like a fallen constellation, and that was the origin of the photograph. With those cameras, you'd frame the image upside down, so I saw Brassaï through the camera with his head at the bottom of the image."[5]
The beginning of her career pre-dates the start of the Nouvelle vague (French New Wave), but contains many elements specific to that movement.[7]:3 While working as a photographer, Varda became interested in making a film, although she stated that she knew little about the medium and had only seen around twenty films by the age of twenty-five. She later said she wrote her first screenplay "just the way a person writes his first book. When I'd finished writing it, I thought to myself: 'I'd like to shoot that script,' and so some friends and I formed a cooperative to make it." She found the filmmaking process difficult because it didn't allow the same freedom as writing a novel; however she said that her approach was instinctive and feminine. In an interview with The Believer, Varda stated that she wanted to make films that related to her time (in reference to La Pointe Courte), rather than focusing on traditions or classical standards.[8]
Varda liked photography but was interested in moving into film. After spending a few days filming the small French fishing town of La Pointe Courte for a terminally ill friend who could no longer visit on his own, Varda decided to shoot a feature film of her own. Thus in 1954, Varda's first film, La Pointe Courte, about an unhappy couple working through their relationship in a small fishing town, was released. The film is a stylistic precursor to theFrench New Wave.[9] At the time, Varda was influenced by the philosophy of Gaston Bachelard, under whom she once studied at the Sorbonne. "She was particularly interested in his theory of 'l'imagination des matières,' in which certain personality traits were found to correspond to concrete elements in a kind of psychoanalysis of the material world." This idea arrives in La Pointe Courte as the characters' personality traits clash, shown through the opposition of objects such as wood and steel. To further her interest in character abstraction, Varda used two professional actors, Silvia Monfort and Philippe Noiret, combined with the residents of La Pointe Courte to provide a realistic element that lends itself to a documentary aesthetic inspired by neorealism. Varda would continue to use this combination of fictional and documentary elements in her films.[10]
It was edited by friend and fellow Left Bank filmmaker Alain Resnais, who was reluctant to work on the film because it was "so nearly the film he wanted to make himself" and its structure was very similar to his own Hiroshima mon amour (1959). While editing the film in Varda's apartment, Resnais kept annoying her by comparing the film to works by Luchino Visconti, Michelangelo Antonioni and others that she was unfamiliar with "until I got so fed up with it all that I went along to the Cinémathèque to find out what he was talking about." Resnais and Varda remained lifelong friends, with Resnais stating that they had nothing in common "apart from cats."[4]
The film was immediately praised by Cahiers du Cinéma. André Bazin called it "a miraculous film. In its existence and in its style" and François Truffaut called it "an experimental work, ambitious, honest and intelligent." Varda said that the film "hit like a cannonball because I was a young woman, since before that, in order to become a director you had to spend years as an assistant." However the film was a financial failure and Varda only made short films for the next seven years.[4]
Varda is considered the grandmother and the mother of the French New Wave. La Pointe Courte is unofficially but widely considered to be the first film of the movement.[11] It was the first of many films she would make that focused on issues faced by ordinary people. Late in her life, she said showed a disinterest in accounts of people in power. Instead she was "much more interested in the rebels, the people who fight for their own life".[12]
Following La Pointe Courte, Varda made several documentary short films; two were commissioned by the French tourist office. These shorts include one of Varda's favorites of her own works, L'opéra-mouffe, a film about the Rue Mouffetard street market which won Varda an award at the Brussels Experimental Film Festival in 1958.[4]
Cléo from 5 to 7 follows a pop singer through two extraordinary hours in which she awaits the results of a recent biopsy. At first glance, the film is about a woman coming to terms with her mortality, which is a common auteurist trait for Varda.[13] On a deeper level, Cléo from 5 to 7 confronts the traditionally objectified woman by giving Cléo her own vision. She is unable to be constructed through gaze of others which is often represented through a motif of reflections and Cleo's ability to strip her body of to-be-looked-at-ness attributes (clothing items, wigs, etc.). Stylistically, Cléo from 5 to 7 borders documentary and fiction as La Pointe Courte had. Although many believe that the ninety-minute film represents the diegetic action, which occurs between 5 p.m. and 7 p.m., in real time, there is actually a half-hour difference.[10]
In 1971, Varda was one of the 343 women who signed the Manifesto of the 343 admitting they had had an abortion despite it being illegal in France at the time and asking for abortions to be made legal.[14]
In 1977, Varda founded her own production company, Cine-Tamaris, in order to have more control in shooting and editing.[15]
In 2013, the Los Angeles County Museum of Art held Varda's first American exhibition called "Agnes Varda in Californialand." The exhibition featured a sculptural installation, several photographs, and short films, and was inspired by time she spent in Los Angeles in the 1960s.[16]
In 1985, Varda made Sans toit ni loi (known in most English-speaking countries asVagabond), which is a drama about the death of a young female drifter named Mona. The death is investigated by an unseen and unheard interviewer who focuses on the people who have last seen her. The story of Vagabond is told through nonlinear techniques, with the film being divided into forty-seven episodes, and each episode about Mona being told from a different person's perspective. Vagabond is considered to be one of Agnès Varda's greater feminist works in how the film deals with the de-fetishization of the female body from the male perspective.[17]
From 1962 until his death in 1990, Varda was married to the film director Jacques Demy, with whom she had one son, Mathieu Demy. Jacques Demy also legally adopted Rosalie Varda, Varda's daughter from a previous union with actor Antoine Bourseiller, who starred in her early film Cléo from 5 to 7. In 1991, shortly after Jacques Demy's death, Varda created the film Jacquot de Nantes, which is about his life and death. The film is structured at first as being a recreation of his early life, being obsessed with the various crafts used for filmmaking like animation and set design. But then Varda provides elements of documentary by inserting clips of Demy's films as well as footage of him dying. The film continues with Varda's common theme of accepting death, but at its heart it is considered to be Varda's tribute to her late husband and their work.[13]
Les Glaneurs et la Glaneuse, or The Gleaners and I, is a documentary made in 2000 that focuses on Varda's interactions with gleaners (harvesters) who live in the French countryside, and also includes subjects who create art through recycled material, as well as an interview with psychoanalyst Jean Laplanche. The Gleaners and I is notable for its fragmented and free-form nature along with it being the first time Varda used digital cameras. This style of filmmaking is often interpreted as a statement that great things like art can still be created through scraps, yet modern economies encourage people to only use the finest product.[18]
In 2017, Varda co-directed Faces Places with the artist JR. The film was screened out of competition at the 2017 Cannes Film Festival[19][20] where it won the L'Œil d'or award.[21] The film follows Varda and JR traveling around rural France, creating portraits of the people they come across. Varda was nominated for the Academy Award for Best Documentary Feature for this film, making her the oldest person to be nominated for a competitive Oscar.[22] Although the nomination was her first, Varda did not regard it as important, stating: "There is nothing to be proud of, but happy. Happy because we make films to love. We make films so that you love the film."[23][24]
Many of Varda's films use protagonists that are marginalized or rejected members of society, and are documentarian in nature. She did two short films on the Black Panthers (Huey and Black Panthers) after seeing their leader was arrested for killing a policeman. Their focus was on the demonstrations that people lead in support of him and the Free Huey campaign.[25]
Like many other French New Wave directors, Varda was likely influenced by auteur theory, creating her own signature style by using the camera "as a pen." Varda describes her method of filmmaking as cinécriture (cinematic writing or "writing on film"). The term was created by merging "cinema" and "writing" in French.[7]:12 Rather than separating the fundamental roles that contribute to a film (cinematographer, screenwriter, director, etc.), Varda believed that all roles should be working together simultaneously to create a more cohesive film, and all elements of the film should contribute to its message. She claims to make most of her discoveries while editing, seeking the opportunity to find images or dialogue that create a motif.[26]
Because of her photographic background, still images are often of significance in her films. Still images may serve symbolic or narrative purposes, and each element of them is important. There is sometimes conflict between still and moving images in her films, and she often mixes still images (snapshots) in with moving images.[7]:13 Varda pays very close attention to detail and is highly conscious of the implications of each cinematic choice she makes. Elements of the film are rarely just functional, each element has its own implications, both on its own and that it lends to the entire film's message.[7]:15
Many of her influences are artistic or literary. Some of her influences are: Surrealism,William Faulkner, Franz Kafka, and Nathalie Sarraute.[7]:6, 12, 106
Because of her literary influences, and because her work predates the French New Wave, Varda's films belong more precisely to the Left Bank (Rive Gauche) cinema movement, along with Chris Marker, Alain Resnais, Marguerite Duras, Alain Robbe-Grillet, Jean Cayroland Henri Colpi. Categorically, the Left Bank side of the New Wave movement embraced a more experimental style than the Cahiers du Cinema group; however, this distinction is ironic considering the New Wave itself was considered experimental in its treatment of traditional methodologies and subjects.[27]
Left Bank Cinema was strongly tied to the nouveau roman movement in literature. The members of the group had in common a background in documentary filmmaking, a left wing political orientation, and a heightened interest in experimentation and the treatment of film as art. Varda and other Left Bank filmmakers crafted a mode of filmmaking that blends one of film's most socially motivated approaches, documentary, with one of its most formally experimental approaches, the avant-garde. Its members would often collaborate with each other. According to scholar Delphine Bénézet, Varda has resisted the "norms of representation and diktats of production."[28]:6
Varda's work is often considered feminist because of her use of female protagonists and creating a female cinematic voice.[15] Varda has been quoted stating, "I'm not at all a theoretician of feminism, I did all that—my photos, my craft, my film, my life—on my terms, my own terms, and not to do it like a man."[4]:1142–1148 Though she was not actively involved in any strict agendas of the feminist movement, Varda often focused on women's issues thematically and never tried to change her craft to make it more conventional or masculine.[29][30]
Historically, Varda is seen as the New Wave's mother. Film critic Delphine Bénézet has argued for Varda's importance as "au feminin singulier," a woman of singularity and of the utmost importance in film history. Varda embraced her femininity with distinct boldness.[28]
In 1958, while living in Paris, Varda met her future husband, Jacques Demy, also a French director. They moved in together in 1959. She was married to Demy from 1962 until his death in 1990. Varda had two children: a daughter, Rosalie Varda (born 1958), with Antoine Bourseiller, and a son, Mathieu Demy (born 1972), with Demy.[31] Varda worked on Academy nominated documentary Faces Places with her daughter.[23]
Varda was the cousin of the painter Jean Varda. In 1967, while living in California, Varda met her father's cousin for the first time. He is the subject of her short documentary Uncle Yanco, named after Jean Varda who referred to himself as Yanco and was affectionately called "uncle" by Varda due to the difference in age between them.[32][33]
Varda died from cancer on 29 March 2019 in Paris, at the age of 90.[34][35]
| Year | Original title[58] | English title | Credits |
|---|---|---|---|
| 1955 | La Pointe Courte | — | Director, Writer |
| 1962 | Cléo de 5 à 7 | Cléo from 5 to 7 | Director, Writer |
| 1965 | Le Bonheur | Happiness | Director, Writer |
| 1966 | Les Créatures | The Creatures | Director, Writer |
| 1967 | Loin du Vietnam | Far from Vietnam | Co-Director |
| 1969 | Lions Love | Lions Love | Director, Writer, Producer |
| 1975 | Daguerréotypes | — | Director, Writer |
| 1977 | L'Une chante, l'autre pas | One Sings, the Other Doesn't | Director, Writer |
| 1981 | Mur murs | Mural Murals | Director, Writer |
| 1981 | Documenteur | Documenteur | Director, Writer |
| 1985 | Sans toit ni loi | Vagabond | Director, Writer, Editor |
| 1988 | Jane B. par Agnes V | Jane B. by Agnes V. | Director, Writer, Editor |
| 1987 | Le petit amour | Kung Fu Master | Director, Writer |
| 1991 | Jacquot de Nantes | Jacquot | Director, Writer |
| 1993 | Les demoiselles ont eu 25 ans | The Young Girls Turn 25 | Director, Writer |
| 1994 | Les Cent et une nuits de Simon Cinéma | A Hundred and One Nights | Director, Writer |
| 1995 | L'univers de Jacques Demy | The World of Jacques Demy | Director, Writer |
| 2000 | Les Glaneurs et la glaneuse | The Gleaners and I | Director, Writer, Producer, Editor |
| 2002 | Les Glaneurs et la glaneuse... deux ans après | The Gleaners and I: Two Years Later | Director, Editor |
| 2004 | Cinévardaphoto | Cinévardaphoto | Director, Writer |
| 2006 | Quelques veuves de Noirmoutier | Some Widows of Noirmoutier | Director, Writer |
| 2008 | Les plages d'Agnès | The Beaches of Agnès | Director, Writer, Producer |
| 2017 | Visages Villages | Faces Places | Director |
| 2019 | Varda par Agnès | Varda by Agnès | Director |
| Year | Original title[58] | English title | Credits |
|---|---|---|---|
| 1958 | L'opéra-mouffe | Diary of a Pregnant Woman | Director, Writer |
| 1958 | La cocotte d'azur | - | Director, Writer |
| 1958 | Du côté de la côte | Along the Coast | Director, Writer |
| 1958 | Ô saisons, ô châteaux | - | Director, Writer |
| 1961 | Les fiancés du pont MacDonald ou (Méfiez-vous des lunettes noires) | - | Director, Writer |
| 1963 | Salut les cubains | - | Director, Star |
| 1965 | Elsa la rose | - | Director, Writer |
| 1967 | Oncle Yanco | Uncle Yanco | Director, Writer, Star |
| 1968 | Black Panthers | Black Panthers | Director |
| 1968 | Huey | Director | |
| 1975 | Réponse de femmes: Notre corps, notre sexe | Women Reply | Director, Writer, Star |
| 1976 | Plaisir d'amour en Iran | - | Director, Writer |
| 1984 | Les dites cariatides | The So-Called Caryatids | Director, Writer, Star |
| 1984 | 7p. cuis., s. de b., ... à saisir | - | Director, Writer |
| 1986 | T'as de beaux escaliers, tu sais | You've Got Beautiful Stairs, You Know | Director, Writer |
| 1982 | Ulysse | Ulysse | Director, Writer, Star |
| 2003 | Le lion volatil | - | Director, Writer |
| 2004 | Ydessa, les ours et etc. | Ydessa, the Bears and etc. | Director, Writer |
| 2004 | Der Viennale '04-Trailer | Venice International Film Festival 2004 - Trailer | Director, Writer, Star |
| 2005 | Les dites cariatides bis | - | Director, Writer |
| 2005 | Cléo de 5 à 7: souvenirs et anecdotes | Cléo from 5 to 7: Remembrances and Anecdotes | Director |
| 2015 | Les 3 Boutons | The Three Buttons | Director, Writer |
| Year | Original title[58] | English title | Credits |
|---|---|---|---|
| 1970 | Nausicaa (TV movie) | - | Writer, Director |
| 1983 | Une minute pour une image (TV series Documentary) | - | Director |
| 2010 | P.O.V., episode 3, season 23, "The Beaches of Agnes" | - | Director, Writer, Producer, Cinematographer |
| 2011 | Agnès de ci de là Varda, 5 episodes (TV series documentary) | - | Director, Writer, Star |
| 歡迎光臨 馬龍占星論壇 (http://astromalon.com/) | Powered by Discuz! 7.2 |
