
Contents
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1: The Encounter with the Other 1: The Encounter with the Other
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(A) Mur, Murs: A Collective Portrayal (A) Mur, Murs: A Collective Portrayal
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(B) Mur, Murs: A Tentatively Comprehensive Portrayal (B) Mur, Murs: A Tentatively Comprehensive Portrayal
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(C) Mur, Murs: A Portrayal Focused on the Encounter of and the Exchange with the Other (C) Mur, Murs: A Portrayal Focused on the Encounter of and the Exchange with the Other
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2: Capturing Time and Images 2: Capturing Time and Images
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(A) Mur, Murs and the Preservation of Images (A) Mur, Murs and the Preservation of Images
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(B) Capturing Images of the Margins: Ethics and Praxis (B) Capturing Images of the Margins: Ethics and Praxis
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Notes Notes
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Cite
Abstract
This chapter examines Agnès Varda's ethics of filming and attempts to establish her as a cinéaste passeur, a mediator not only between the filmed subjects and the spectators, but also between a specific space and time and the moment of the screening. It emphasises the factors that dictate Varda's decisions when creating a film, and identifies the two basic elements that serve as foundation for Varda's ethics of filming — relationality and connections. During filming, Varda, as an ‘author’ sees herself as an ‘intermediary who gives her voice to those who have none’. Her approach is based on the encounter with the other, and marked by a consistent concern for the capture and preservation of images. This is most evident in the four films discussed in the chapter: Mur, Murs, Documenteur (1980–81), Sans Toit ni Loi, Les Glaneurs et la glaneuse, and Le Lion volatile (2003).
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