Scholarlink

Agnès Varda was undoubtedly one of the most refined, creative and innovative documentarians in the history of cinema. In this essay we will try to analyze a single aspect of the experimental exercise that has constantly accompanied her work: the relationship between the voice-off, almost always recited by herself, and the visual plane. The voice-off, in all the cases we will mention, weaves a surprisingly vital relationship with the narrated world, «situating»1 itself in the form of the film as a “body-voice” never distant from the representation and indeed marked by a subjective honesty (Bénézet 2014) which allows her to stay contemporary «in front of and inside the images»2, always strategically remaining an active presence within her films.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

“Dodo cucu maman vas-tu-te-taire”

  • 章节

  • 发表日期：

    2025年

查看全文
  • Alma Mileto

摘要

Agnès Varda was undoubtedly one of the most refined, creative and innovative documentarians in the history of cinema. In this essay we will try to analyze a single aspect of the experimental exercise that has constantly accompanied her work: the relationship between the voice-off, almost always recited by herself, and the visual plane. The voice-off, in all the cases we will mention, weaves a surprisingly vital relationship with the narrated world, «situating»1 itself in the form of the film as a “body-voice” never distant from the representation and indeed marked by a subjective honesty (Bénézet 2014) which allows her to stay contemporary «in front of and inside the images»2, always strategically remaining an active presence within her films.