Abstract
This thesis examines Agnès Varda (1928-2019), the only female of the New Wave as the research object.Discussing her works and her unique background to dissect Valda's cinematic aesthetics.This paper examines the works of French director Agnes Varda in the context of French politics, feminist movement and practice. Through the criticism of Varda's films, the author believes that Varda has uniquely practiced "female writing" in her films, which aims to explore the issue of female identity and create an alternative film language that challenges and undermines the dominant mode of film making. Her film language is always anti-traditional, from the long shot, jump cut to tactile vision are her techniques of expression, and in a state of alienation and intervention to write an autobiographical.
Therefore, this paper sorts out the relationship between the background of the new wave and Varda, and especially analyzes the characteristics of Varda's image style from the perspectives of politics, women, society and her own family.It also discusses how warda, a director, photographer and installation artist, and her film language and image style highlight the sensual aesthetics of tactile perception in her images.
Finally, this paper hopes to provide a more complete and comprehensive reference on the "mother of the new wave" of Valda's works.
| Date of Award | 2021 |
|---|---|
| Original language | Chinese (Traditional) |
| Supervisor | Ya-Lun Wang (Supervisor) |