Margarida Cadima margarida cadimaglasgow ac uk Sans toit

Margarida Cadima margarida. cadima@glasgow. ac. uk Sans toit ni loi Agnès Varda Week 5 Seminar (Thursday, 7 th February 2019) French Culture 2 Margarida Cadima margarida. cadima@glasgow. ac. uk

Questions for Film Analysis Pallister, Janis L. , French-Speaking Women Film Directors. A Guide, Madison/Teaneck: Fairleigh Dickinson University Press; London: Associated University Presses, 1997, p. 168 -171. Margarida Cadima margarida. cadima@glasgow. ac. uk

General Margarida Cadima margarida. cadima@glasgow. ac. uk

Nonconformist Protagonist “A walking affront to civil society, Mona intrigues, unnerves and disgusts the people she encounters. Her filthy, vagabond state embodies an absolute rejection of femininity and of the comforts, confines and conventions of domesticity. Vulnerable, tough, apathetic, hedonistic, disobedient and free, she cannot be pinned down or defined. ” “To Varda’s credit, the film doesn’t attempt to represent Mona as sympathetic – she’s insolent and devious when she needs to be, doing whatever it takes to get through the day with a minimum of effort. With seemingly no plans or sense of purpose, Mona abandons lovers and companions, connecting only to later reject with unclear reason. ” Source: www. bfi. org. uk Margarida Cadima margarida. cadima@glasgow. ac. uk

Conflict Margarida Cadima margarida. cadima@glasgow. ac. uk

Supporting Characters “Throughout Vagabond, we hear testimony from a number of fictional witnesses, interviewed by the narrator (Varda herself). These range from migrant farmers and peasant families to shopkeepers, construction workers, truck drivers and fellow vagrants. As they recount their connection to Mona, she is described as everything from a “truly free” being to a “nice piece of ass”. Through Varda’s documentary-like approach, we get a largely unflattering picture of the interviewees as they expose their own fears and hypocrisies. As they reveal much about themselves, Mona’s true nature remains ungraspable, both to those who thought they knew her, and to the audience. ” Source: www. bfi. org. uk Margarida Cadima margarida. cadima@glasgow. ac. uk

Setting Margarida Cadima margarida. cadima@glasgow. ac. uk

Au Sud “Le 3 Mars 1985 démarrait le tournage du film Sans Toit ni loi, ici entre Montpellier et Nîmes, dans une région qu’Agnès Varda connaît bien, por y avoir vécu une partie de son adolescence (La Pointe courte, à Sète en 1954), pour y revenir régulièrement. ” Source: www. sanstoitniloi. languedoc-roussilloncinema. fr “The filmmakers of the nouvelle vague – Godard, Truffaut and Rivette, Roehmer and Varda – liked to take the camera out into the world and film on location not only out in the streets but also in the rooms and corridors of real life. ” The Material Ghost, Gilberto Perez Margarida Cadima margarida. cadima@glasgow. ac. uk

Irony & Significance of the Title Margarida Cadima margarida. cadima@glasgow. ac. uk

Sans foi ni loi Signification: Pour parler de quelqu'un qui n'a aucune morale. Origine: Expression qui fait référence à un individu qui n'a foi en rien et ne respecte aucune loi et qui a contrario suit ses propres règles. Ce genre de personnes est considéré comme étant impitoyable et inspire la crainte. Expression à connotation péjorative. Source: www. linternaute. fr Margarida Cadima margarida. cadima@glasgow. ac. uk

Cinematic Qualities Margarida Cadima margarida. cadima@glasgow. ac. uk

Cinematography “Using a moody and desaturated colour palette, Patrick Blossier’s painterly photography sets the enigmatic Mona against a stark French landscape of icy skies, wind-blown sand frozen hayfields, reflecting back the cold, drab and pitiless world she inhabits. From the dim abandoned rooms where Mona takes cover to the brightly lit homes where she’s excluded, every shot, every frame of Vagabond is expressed in sparsely poetic images. ” Source: www. bfi. org. uk Margarida Cadima margarida. cadima@glasgow. ac. uk

Cinematic Viewpoint Margarida Cadima margarida. cadima@glasgow. ac. uk

Sound Effects and Dialogue Margarida Cadima margarida. cadima@glasgow. ac. uk

Relevance “Structured around the hazards of a female drifter’s experience, and by extension the female experience more generally, Vagabond remains powerful and timely – and a clear influence on Kelly Reichardt’s own drifter story, Wendy and Lucy (2008). Far from brazen opportunism, the precariousness of Mona’s existence stems from her outsider status as a woman in a sexist society. As she attempts to remove herself from the social norms expected of her gender and class, Varda shows us how perilous and short-lived this zoneless space can be. As one of the film’s interviewees caustically observes: “By proving she’s useless, she helps a system she rejects. ”” Source: www. bfi. org. uk Margarida Cadima margarida. cadima@glasgow. ac. uk

Acting & Time; Pacing Margarida Cadima margarida. cadima@glasgow. ac. uk

Margarida Cadima margarida. cadima@glasgow. ac. uk

Feminist Approach “Varda’s feminist aesthetics are evident from the opening flashback, where we first see Mona emerging naked from the ocean, being ogled by two young men. This scene is followed by a shot of postcards of nude women for sale in a bar frequented by the same men, who talk unabashedly about missed opportunities. While some characters, particularly women, admire Mona for her strength, she remains a potential sex object, rendered disposable to most of the men she encounters. As a mechanic (Pierre Imbert) bluntly puts it, having helped himself to a sordid tryst in Mona’s shabby tent: “Female drifters, all alike: just loafers and men-chasers. ”” Margarida Cadima margarida. cadima@glasgow. ac. uk