Nouvelle Vague

50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague's aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze's thesis on the time-image and Serge Daney's assertion according to which the Nouvelle Vague contributed to the passage of the cinema of the ideal to the cinema of otherness, the following article places its protagonists filmmakers in front of the conviction that their cinema did not create a style, but it established a method. This method came through a particular gesture: when the filmmakers saw in cinema a movement of desire that fails to reach the desired object and the failure of which allows to think about the nature of the image. From this discussion emerges a logic of images halfway between representation and figuration. To address this, the article revisits the early works of François Truffaut, Jean-Luc Godard and Alain Resnais, and the cinema of Philippe Garrel as a representative of the first French generation after the Nouvelle Vague.

Cincuenta años después del nacimiento de la Nouvelle Vague, sus herencias recibidas en el cine contem-poráneo son inevitables. Figuras y motivos visuales; relatos, temas, rostros o lugares comunes; recursos estéticos y de lenguaje. Los ecos se manifiestan de diversos modos, cada filiación implica una relación distinta y por tanto una aproximación dispar para su análisis. Y sin embargo, tanto la academia como la crítica de cine siguen pensando en la Nouvelle Vague como un conjunto, un universo, una corriente o una tendencia estética. Pero, ¿existe una estética nouvellevaguesca? Y, si es así, ¿por qué abordar de nuevo su revisión histórica? A partir de las tesis de Deleuze sobre la imagen-tiempo y de la aseveración de Serge Daney según la cual la Nouvelle Vague contribuyó al paso de un cine del ideal a un cine de la alteridad, el artículo siguiente da respuesta a estas preguntas partiendo de la convicción que los cineastas franceses no crearon un estilo, sino que asentaron un método. Este método consistiría en poner en crisis una relación propia de la narración para hallar una nueva relación en términos de montaje y puesta en escena. En particular, el artículo sostiene que la Nouvelle Vague aboga por esta aproximación haciendo del filme el espacio que permite pensar la visibilidad de la imagen y su figurabilidad a partir de la búsqueda y la pérdida del objeto de deseo en el relato, de lo que resulta una lógica de las imágenes a medio camino entre la representación y la figuración. Para abordar el análisis, el artículo propone una revisión de las primeras obras de François Truffaut, Jean-Luc Godard y Alain Resnais, y el cine de Philippe Garrel como representante de la primera generación francesa después de la Nouvelle Vague.

En 1961 Manuel Antín comienza su carrera cinematográfica adaptando cuatro cuentos de Julio Cortázar en tres largometrajes: La cifra impar (1961, adaptación de “Cartas de mamá”), Circe (1963, adaptación del cuento homólogo) e Intimidad de los parques (1964, adaptación de dos cuentos: “El ídolo de las Cícladas” y “Continuidad de los parques”). Un minucioso trabajo comparatístico de los textos escritos con los textos fílmicos, iluminados además por los aportes de las cartas que intercambiaron durante esos años ambos artistas, permite detectar cómo la puesta en escena, los motivos visuales y la gramática fílmica de las películas construyen un equivalente creativo y original de la atmósfera, los campos semánticos y los ejes temáticos de los cuentos. Con Julio Cortázar como uno de los máximos exponentes del boom latinoamericano y con Manuel Antín, uno de los mejores representantes de la nueva ola cinematográfica de los años 60 en Argentina, las adaptaciones se inscriben en el marco de ese periodo de revolución cultural en el que las rupturas del lenguaje y de las artes visuales se proponen dar forma a una estética contestaria y renovadora. A través de su trilogía, Antín ha logrado encontrar el discurso audiovisual acorde a esa “poética de tiempos y espacios rotos” que caracteriza a la narrativa de Julio Cortázar.

The life of Henri-Pierre Roché (1879 – 1959), art collector, journalist, writer, finds its singular rhythm in a continual meandering between dispersion and the search for unifying harmony. This dispersion – moral and physical – appears to represent a necessary evil for him since he considers his vocation to be the gathering of human experiences from as wide a spectrum as possible in order to create a work that would be useful to society, that would lead to better understanding of issues such as political harmony, eroticism and polygamy.

The dissertation consists of a detailed biographical study which covers Roché’s formative years until the publication of his first literary works (1879 – 1907). A biographical summary of the remainder of his life is followed by a chapter on his first major publication, Don Juan et... , which has not formed the subject of any literary analysis prior to this. The third chapter consists of an interpretation of Roché’s novel Deux Anglaises et le Continent as both a work of initiation and an initiation to his work, illustrating how it introduces themes that recur in two further novels, Jules et Jim and Victor.

Through his way of life, Roché’s life becomes his most extensive and involved œuvre. This dissertation traces the roots of his propensity for dispersion and lack of unity, to his childhood and specifically to the form of education advocated by his mother Clara Roché. This attribute surfaces again in Roché’s keeping of a personal diary, spanning almost sixty years, in which he compulsively observes and notes his own behaviour and that of those around him. The diary emphasises and prepares the fragmentary, compressed style and open-ended writing which would later become Roché’s trademark.

Abandoning his studies in political science, Roché sets out on a career which has much in common with the lives dilettante intellectuals fashion for themselves towards the end of the 19th century. His first human project, formulated around 1902, is an attempt to understand the mystery of erotic love and the possibilities of sexual relationships. To this end, he transforms his own life into a kind of laboratory. At a time when France has hostile inclinations towards Britain and Germany, Roché undertakes extensive journeys to these countries, learning the languages and opening himself to literary, social and philosophical influences. The dissertation pays particular attention to the analysis of these influences, an area which has not yet been covered by any other research. Through a detailed interpretation of Don Juan et..., the nature of seduction and desire is examined in the context of the literary myth of Don Juan and the association between fragmentation and desire is emphasised.

In conclusion, the association between desire and its written expression is examined and found to be reflected in Roché’s fragmentary writing, through which he appears to find a solution/ compromise in the form of voluntary incompleteness compensating for his failure in the impossible quest for unity.

©University of Pretoria 2005

If “every tracking shot is a moral act,” as Jean-Luc Godard has once remarked, then filmmaking in the aftermath of colonialism must have posed numerous challenges to a fresh offbeat Nouvelle Vague director like himself. How is filmmaking possible after colonialism? What needs to be changed, salvaged, ridiculed? How does technique work thematically and content stylistically to “track,” with candid morality, the state of art and politics in postcolonial France? This is what this papers about.

Key words: A Bout de Souffle (Breathless), Theodor Adorno, French Colonial Algeria, Colonialism, Bretolt Brecht , le cinéma de papa, Postcolonial Studies, Fin de cinema, Frantz Fanon,
Jean-Luc Godard, La Nouvelle Vague/ French New Wave,
Le Mepris (Contempt), Verfremdungseffekt
(Defamiliarization, Estrangement Effect)

Ficcionalizar-se no cinema contemporâneo. A ambígua fusão das histórias pessoais do autor com personagens inventados da ficção transportou o realizador para o centro da narrativa fílmica. Se no cinema hegemônico tradicional a figura do diretor se firmou ao orquestrar o filme na perspectiva de uma “função”, como a do autor que possui controle sobre a obra, depois das crises de autoria e da chegada do cinema de dispositivo esta operação se ressignificou. O diretor passou também a diretor-personagem, num “cinema do eu” cuja intimidade está disponível para o público. Imerso na cultura midiática, esse novo autor adotou formas de narrar que se aproximam do que a teoria literária contemporânea chama de autoficção. Para isso forjou estratégias que fogem à dicotomia verdadeiro e falso, abandonando pressupostos verossímeis e verazes da autobiografia, antes utilizada para classificar o “cinema do eu”. Nos anos 1950, vanguardas como a Nouvelle Vague tensionariam sutilmente a identidade do autor-personagem em filmes como Os incompreendidos (1959), de François Truffaut, a partir de um entrelugar, entre autobiografia e ficção. Exatamente meio século depois, o Canadá francês vê um jovem realizador emergir com Eu matei minha mãe (2009), num cinema cuja vida pessoal do diretorator-protagonista é problematizada em forma de espetáculo, como força-motriz da ficção. Para Xavier Dolan, o principal recurso é a exposição de si mesmo. Ao observar essas visíveis mudanças de paradigma, para onde caminharia o cinema ficcional íntimo? Seria a autoficção uma nova estratégia da narrativa cinematográfica?

Jean-Luc Godard is an essayist. Not an essayist in the literal sense, Godard is more like a time-traveling filmmaker in the great history of the arts and our world. Many of his films remain fragments, veritable assemblages of eclectic quotations in which he presents any aspect of culture. Godard's  films are like  small personal museums of his outstanding knowledge and one finds images and references that he has collected and categorized in numerous of his yellow notebooks. He brings together different arts, literature, painting, photography, and philosophy. As a former critic for cahiers du cinéma, he sees cinema as a central development of our time whose mission is to "bear witness to his century with his images of the pure presence of things."

The title "Silent Pictures" first refers to the use of the still and stationary image in the moving medium of the film. These "silent pictures" can be understood as the raw material of Godard's films; they are dissected, separated, alienated and then (re)contextualised in another context.
In this sense, the photographs are first of all quotes. Godard primarily uses found footage, imagery such as newspaper photos, postcards or advertisements, and uses them contrapuntally in his films. By doing so, he transforms the pictorial world of pop, art and news as if it were part of the flow of the film. This approach to the photographic image within the film allows Godard not only to be understood as a "iconoclast" of cinema, but also as a critic of the still image. But iconoclasm is meant as a research for the image behind the image, to show the "incrustations" of cinema. He makes visible the pure materiality of the moving image.

Este trabalho tem o objetivo de apresentar uma revisão de alguns momentos do cinema novo brasileiro, nos
quais foram perceptíveis as influências das vanguardas cinematográficas da Europa, a saber: o experimentalismo
soviético, o surrealismo francês, o neorrealismo italiano e a nouvelle vague francesa – estes dois últimos
com mais ênfase que os primeiros. O trabalho continua ainda, de modo reflexivo, apontando as características
estéticas do movimento artístico e a sua derrocada.

[PT]
Desenvolvido a partir de uma investigação no âmbito do Mestrado em História da Arte, Património e Cultura Visual e de um estágio na Biblioteca Pública Municipal do Porto, o presente trabalho consiste num estudo das revistas de cinema portuguesas, em particular as publicadas ao longo das décadas de 30 a 60 do século XX. Concedeu-se atenção ao seu conteúdo textual e aos respetivos aspetos visuais. Assim, a partir do levantamento e conhecimento do objeto de estudo, vieram a ser definidas as evoluções técnicas, as diretrizes teóricas e estéticas, e os agentes – redatores, cineastas, artistas – destas publicações nos anos assinalados.
Foi concedido especial enfoque à década de 50 e 60, no propósito de demonstrar a emergência de “novas revistas” associadas à necessidade de um cinema novo que se começa a sentir neste período. A par da fundamentação teórica e da reflexão que o tema propicia, optou-se por tirar partido das tarefas do estágio realizado para criar um instrumento de consulta hemerográfico.

[EN]
The present investigation was developed during the MA in Art History, Heritage and Visual Culture and the internship at the Municipal Public Library of Porto. This work consists in the study of Portuguese film magazines and pays attention to its textual contents and its visual aspects, particularly those published between the 1930s and the 1960s. Upon understanding the object of study, it was therefore possible to define the technical evolutions, the theoretical and aesthetical guidelines, as well as the participants – writers, directors, artists – of these periodicals within the referred years. Special emphasis was given to the 1950s and the 1960s in order to demonstrate the emergence of “new magazines” associated with the need of a “new cinema” and a “New Wave” that was beginning to appear in this period. Alongside the theoretical substantiation and the reflection that the theme allows, an hemerographic reference tool was created based on the experience and data acquired during the internship.

It is typical of New Waves and New Cinema movements to resort to physicality as a means to establish a material link between cast/crew, the profilmic event, and the resulting film, so as to generate a sense of belonging and identity. Firmly rooted in the New German Cinema and akin to all New Wave movements of the 1960s and 1970s, the oeuvre of Werner Herzog also relies, perhaps more intensely than that of any of his contemporaries, on a physical approach to filmmaking. However, physicality, in his case, seems to derive from an irretrievable loss of identity, a rupture between the human element and its environment through which the materiality of the former comes to the fore. Reality thus becomes synonymous with difference , a fact embodied by the legions of extraordinary beings who populate his entire output. In this chapter, I will investigate the nature and validity of Herzog ’ s claims to difference, its relation to physical filmmaking, and the kind of realism resulting from his mode of address within and beyond the realm of representation. Starting from the director ’ s body itself, I will proceed to
the examination of physicality in his oeuvre in the light of hitherto little explored historical and aesthetic connections with New Wave and New Cinema movements, in particular the Nouvelle Vague and the Brazilian Cinema Novo.

While much has been written about Jean-Luc Godard in relation to his formal experimentation or his political activism during his Nouvelle Vague period in French Cinema of the 1960s. However, little has focused exclusively on the politicized creation of discursive space between sound and image. In this research paper, I point to this discursive relationship between visual and sonic sources of information within Godard’s work, and showcase how it subverts Classical Hollywood conventions and enables Godard to use film style to express his political views.

This paper received First Class Honors at Trinity College, Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

Resumen:
Clasificando el mundo para comprenderlo a su modo, Perec no cesó de trastocar las convenciones de lo sensible y las jerarquí­as establecidas. Su mirada confiere a la trivialidad, a los seres y a las cosas cotidianas una densidad inesperada que nos turba y nos maravilla.
Perec es uno de los escritores más interesantes e imaginativos del siglo XX que, además de haber sido el creador de los crucigramas semanales de la revista Le Point, de Parí­s, realizó guiones cinematográficos, varias novelas, poesí­as, ensayos literarios y sorprendentes piezas teatrales. Perec, continua siendo casi desconocido para el gran público, a pesar de que existen traducciones de sus obras a 15 idiomas y goza de celebridad entre autores –para quienes constituye una inspiración– como es el caso de Raúl Ruiz1, al modo como Jean Genet lo constituyo para Sartre.
La imagen que Perec dejó tras de sí­ es mitológica. Hombre de infatigable libertad, para quien las palabras eran el medio de imponer eternidad a los objetos, fue perfeccionando con minucia el retrato que iba a dejar a la posteridad.
Desde hace más de una década, Parí­s ha sido poseí­do por el culto a Perec, que se refleja en los incontables grupos teatrales, asociaciones de vecinos y clubes con su nombre. Todo autor francés de crucigramas ha desafiado alguna vez a sus lectores con los palí­ndromos, anagramas, heterogramas, homofoní­as, "bolas de nieve" y demás dramas alfabéticos en los que Perí¨c era un consumado maestro. Quienes lo conocieron dicen que era un hombre extraño, tierno, alegre, atento, curioso, con una inusual conciencia de su lugar en la historia.
Vestí­a siempre una camisa de cuello alto, se cortaba el pelo al rape y sus enormes ojos verdes, que centelleaban ante la menor respiración de la vida, le conferí­an un cierto aire seductor, disipado por los infinitos lunares y verrugas en las mejillas y las orejas apantalladas.
Dos años después parecí­a otra persona. Se habí­a dejado crecer una barba desflecada en la mandí­bula, que casi en seguida se volvió gris. El pelo enmarañado sobre la frente y los ojos, cada vez más abiertos, cada vez más asombrados, dominaban una cara radiante de tierna lucidez.
Adolfo Vásquez Rocca D.Phil

Comparaison entre Les 400 coups et Le grand bleu. La mer, le héros mal dans sa peau... Parmi les vannes de liberté de tournage et de narration qu’ouvre Les 400 coups, l’une consiste à donner au cinéaste le loisir de faire des pauses narratives à la faveur desquelles le rêve cinégraphique des cinéastes impressionnistes français des années vingt va pouvoir se réaliser : faire un cinéma pur, délivré de l’obligation de raconter. 11’13” de plans déconnectés de l’enchaînement causal des péripéties y flirtent avec ce qu’on ose à peine qualifier, s’agissant de Truffaut, d’effet-clip. Or ce désir de communiquer une expérience “directe” est un trait caractéristique du cinéma post-moderne de l’immersion.

«El cine tiene por elemento el gesto y no la imagen», escribe Giorgio Agamben. Bajo esta concepción del cine como el arte de la relación —del montaje— y como el lugar que piensa la mirada —la puesta en escena—, la Nouvelle Vague convirtió este gesto en una caricia. A partir del pensamiento de Emmanuel Lévinas, que define la caricia como el gesto que «expresa el amor, pero sufre la incapacidad de decirlo», el siguiente volumen recupera la tradición fenomenológica abierta por André Bazin y viaja al centro del universo estético de la Nouvelle Vague mediante este gesto erótico, fundado en la alteridad y sujeto a la significancia e infinitud del rostro del otro.

Desde la mediación del actor y de su palabra, la voluptuosidad de l’amour fou y su necesaria ruptura, la memoria del cuerpo y la subversión del deseo, La caricia del cine nos conduce hacia una nueva historia del cine francés o, más precisamente, ambiciona explicar la historia más influyente de la modernidad a través de su invención figurativa. De Jean-Luc Godard a Philippe Garrel o Leos Carax; de Éric Rohmer a Eugène Green; de Jacques Rivette a Claire Denis. De la revisión de los filmes y las secuencias más emblemáticas de la Nouvelle Vague a la defensa de los cineastas más olvidados: Guy Gilles, Cyril Collard, Jean-Claude Rousseau, Paul Vecchiali o Jacques Nolot. A partir del cine comparado, las constelaciones de cineastas, de films e imágenes que propone este volumen son guiadas, como los fragmentos del discurso amoroso de Roland Barthes, por figuras; aquí, las figuras emergen del relato levinasiano: la mirada, el rostro, el cara a cara, la caricia, la fecundidad. Este libro, que entiende el devenir de las imágenes como un viaje hacia el otro y a partir del otro, explora la fisura que el cine moderno abrió entre el plano y el contraplano para hallar, en la misma apertura, el espacio de la relación mediante el cual el cine se erige como el arte del gesto y como un lugar privilegiado para el pensamiento fenomenológico.

«El autor combina, en formas extremas, las virtudes del cinéfilo y la erudición del académico. O quizás sea al revés. Este es su primer volumen publicado y aún así, desde el inicio, marca un tono fuerte, entra en escena con contundencia y ambición, sin petulancia pero con arrojo. […] Abrir las imágenes del modo en que lo hace Arnau Vilaró descubre al lector, al espectador, una nueva manera de verlas, de leerlas, de comprenderlas, de sentirlas. En ese sentido, las posibilidades mostradas por el libro son infinitas y se pueden imaginar desde ahora otras vías reales». (Fran Benavente).

Etnografi, belirli bir toplum ve kültürün yaşayışından hareketle, insanın toplumla kurduğu karmaşık ve çok boyutlu ilişkileri bütüncül bir bakış açısıyla ele almayı hedefleyen bir araştırma yöntemidir. Bu amaç doğrultusunda ele alınan toplumun ritüellerini, gündelik davranışlarını ve alışkanlıklarını derinlemesine inceler. Yirminci yüzyılın teknolojik gelişmeleri etnografik metotu geliştiren yeni araçların ortaya çıkmasını sağlamıştır. Etnografik film bunlardan bir tanesidir. Kültürler ve yaşayışlarını incelemede daha kapsamlı veriler sunan etnografik film, zamanla antropoloji disiplinin sınırlarını aşarak sinema alanında yeni bir kimlik kazanmıştır. Bu çalışma, bir yönetmenin alışılagelmiş film dilinin dışına çıkarak, sinemanın özünü oluşturan görsel formlardan hareketle kültürlerarası etkileşimleri, insan iletişimi ve deneyimlerini, tarih ve hafızanın ilişkisini nasıl yansıtabileceğini inceler. Bu inceleme için Fransız yönetmen Chris Marker seçilmiştir. Seçimde Marker'ın belgesel sinema ve deneysel film çalışmalarının yanı sıra sinemayla kurduğu bireysel deneyim ilişkileri de etkili olmuştur. Bu çalışmanın ilk bölümünde Marker'ın görsel antropoloji alanıyla etkileşimi incelenecek, ikinci bölümde ise bu bağlamda ürettiği, sinemada türler arası yönelimleri yansıtan Sans Soleil ve Trois Video Haikus filmleri ele alınacaktır.

La noche del 4 al 5 de diciembre de 1957, el compositor Miles Davis y su quinteto, el realizador Louis Malle y la actriz Jeanne Moreau entre otros se reunieron en un edificio de la Avenida de Los Campos Elíseos de París para grabar la música de la que trata el presente texto: la banda sonora original de Ascensor para el Cadalso. Esta enigmática velada es el resultado de un cúmulo de coincidencias y golpes de suerte.

Sokourov et l'humanisme, une affaire de cadre. Libre, il faut avoir senti le cadre. Dans un entretien avec les Cahiers du Cinéma (novembre 2015, n°716), le réalisateur russe Alexandre Sokourov défend Pétain au nom d'une certaine idée de l'humanisme : « Pour moi, la décision historique de Pétain a été bonne pour la France. Il y avait beaucoup de circonstances morales très dures, mais c'était une position justifiée. Plus de vies humaines ont été sauvées de cette manière. Le film part de ça, de cette balance : quel est le prix de la vie humaine ? Pendant que vous pouviez aller au café à Paris, les Russes mouraient en masse. Peut-être qu'on est morts pour cela d'ailleurs, pour Paris et pour la culture. Mais personne ne nous a dit merci (…) Au cours des huit premiers mois, trois millions de Russes ont été tués ou faits prisonniers sur le front de l'Est. Mais on ne peut pas dire qui est coupable. Le choix de Pétain, sa décision de trouver un compromis, était sans doute très dure mais aussi plus humaniste. Toute décision humaniste a un versant moral compliqué ». On serait tenté de dire que M. Sokourov a parfaitement raison. L'humanisme de Pétain dans son refus de livrer à la mort des millions de français est, dans une perspective littérale, incontestable, et toute décision humaniste a un versant moral compliqué. Mais nous serions tentés de le dire pour préciser aussitôt que M. Sokourov ne peut avoir raison que dans un certain cadre, un cadre ancien, oublié, qui nous apparaît à sa lecture étranger, cadre qui est celui de la nation, cadre qu'il adopte d'ailleurs explicitement, par l'utilisation régulière du « on » renvoyant à ses compatriotes russes (« Peut-être qu'on est morts pour cela d'ailleurs »). Sauf que l'on se rend vite compte – immédiatement, intuitivement, par analogie à cette idée de cadre – que M. Sokourov ne peut avoir tout à fait raison, parce que le cadre dont il parle, dont il part, la nation, n'existait alors pas, puisqu'elle ne respectait pas ses promesses – son propre discours – et excluait ceux qui lui appartenaient légitimement, tout un pan de la population, les juifs bien entendu, et les autres victimes de la politique nazie, sans que rien ne justifie ce geste.

The Complete Conference Talk given by Alain Robbe-Grillet at the 1996 Oxford University Alain Robbe-Grillet Conference (September). Presented in the Original French of Alain Robbe-Grillet, transcribed in English by Edouard d'Araille. Robbe-Grillet discusses the relationship between his novel-writing and film-making pursuits, which embraced the New Novel and the New Wave. He looks at the different nature of telling a story through words, and telling a story with images and sound. And of course he discusses his writing/film collaboration with Alain Resnais that resulted in their iconic work 'Last Year at Marienbad'. Robbe-Grillet's talk ranges through the fiction styles of Balzac and Flaubert, the dream analysis of Freud, the films of Michelangelo Antonioni and his own novels and feature films, among other topics. Personal anecdotes mix with theoretical reflections on art theory and the difference between the task and means of the writer and filmmaker are elucidated better perhaps than anyone before. Robbe-Grillet's brief Q&A after giving this talk is included at the end of this talk, in which he responds to some challenging questions from professors Roch C. Smith, Anthony Fragola and Ben Stoltzfus.. This paper is extracted from the complete conference proceedings published as 'In the Temple of Dreams' (1999/2006/2016).

The contradiction between restorative justice and poetic justice has led to a repeated critical self-reflection of the theatre as a medium, and was finally overcome in 20th century post-dramatic theatre, starting with Bertolt Brecht. Brecht‘s departure from Aristotelian theatre is directed from the outset against the principles of reward and punishment, which were crucial to poetic justice. Following on from naturalism, Brecht opposed these two fundamental principles with the idea of an “open-ended play”, whose end remains open and whose moral is developed only in a dialogue with the audience that is comparable with the conferencing of restorative justice.
The paper investigates the influence of Brecht‘s model of epic theatre and his theory of didactic theatre on the political film in the Brechtian tradition that emerged in certain strands of film theory and cinematic practice since the early 1960s. This influence can be detected in the films of Alexander Kluge and Jean-Luc Godard.

Wilfried Reichart hat seit etwa 1970 in wechselnden Funktionen die Filmredaktion des WDR geprägt, von 1980 bis 2004 leitete er diese. Dort war er an der Produktion zahlreicher filmvermittelnder Sendeformate beteiligt, die dem Fernsehpublikum mithilfe von Interviews, Berichten und Kritiken das internationale Kino nahebrachten. Nicht zuletzt in dieser Funktion hat Reichart mehrere Gespräche mit Jean-Luc Godard geführt und sich darüber hinaus in Kritiken, Artikeln und Aufsätzen immer wieder mit dem Werk des Filmemachers auseinandergesetzt (s. Bibliografie). Das nachfolgende Gespräch fand im Herbst 2017 an zwei Terminen in Berlin statt.

La produzione cinematografica di Agnès Varda è notoriamente ricca di riferimenti alla pittura. Le citazioni appaiono, nei suoi film, in modalità diverse: citazioni “in cornice”, tableaux vivants, inquadrature rifatte “à la manière de” un determinato artista. Il saggio si sofferma su alcune citazioni particolarmente significative, che non si limitano a istituire legami con temi, significati o atmosfere del film, ma forniscono chiavi interpretative essenziali per l’intera composizione filmica. Tra i film analizzati: Le Bonheur (1964), Lions Love (1969), Jane B. par Agnès V. (1987).

This study will seek to determine the extent to which Louis Garrel’s leading roles are unified, not only through their personification in Louis Garrel but also through a number of central, common themes. It will be seen that the psychoanalytic notion of desire juxtaposed with those of filiation and heredity are central to the body of work in which Louis Garrel has so far performed. Particular emphasis will be laid on the manner in which the notion of ‘family’ is consequently rendered central to the development of these features from both a thematic and technical point of view. With regards to the latter aspect, the study will also seek to determine the manner in which Louis Garrel’s oeuvre is still deeply indebted, whether directly or indirectly, to the symbolic fathers of the French Nouvelle Vague.

Del héroe de “Cuentos morales” (1963-1972) a la heroína de “Comedias y proverbios” (1981-1987) Éric Rohmer establece el paso de un cine fundado en una lógica de acción a un cine de videncia. De acuerdo con esta idea, a partir de la cual Gilles Deleuze piensa el paso de la imagen-movimiento a la
imagen-tiempo, las siguientes páginas retoman el estudio de la primera serie del cineasta para ver en la feminidad abandonada por el héroe (Haydée, Maud, Chloé o Claire) los principios con los que Rohmer concibe sus heroínas posteriores y una nueva lógica de relato. Para ello, por un lado, el artículo revisita los estudios que abordan la puesta en escena de “Cuentos morales” a partir del pensamiento del héroe y de la palabra en particular; por otro lado, propone el deseo y la idea de alteridad como el método que permite pensar la imagen y la palabra en su conjunto, esto es, la mostración y el lenguaje, elementos con los que, siguiendo las ideas de André Bazin, Rohmer define la naturaleza ambigua del cinematógrafo.

Cet article est une mise en relation d'un corpus de textes autour de la notion d'unité des contraires proposée par Jean-Yves Bloch, dans son texte "Le violon et le métronome". À travers une analyse du film "Cléo de 5 à 7", il propose de revenir sur le dialogue entre une temporalité objective et subjective et la corrélation entre fiction et documentaire.

L’affermazione della Nouvelle Vague nel cinema francese coincide con un momento di importante rinnovamento urbanistico della città di Parigi. Dopo una breve introduzione che illustra le principali caratteristiche degli interventi urbanistici realizzati nella capitale fra gli anni Cinquanta e Sessanta, il saggio si focalizza sulla presenza di un motivo emblematico nei film della Nouvelle Vague: quello del cantiere. Al di là di fugaci apparizioni, infatti, il cantiere acquista in alcune pellicole un importante rilievo drammatico e una pregnante valenza simbolica legata alla dimensione temporale. Esso assume con evidenza, in certe opere (non solo cinematografiche, ma anche letterarie), il valore di emblema della transizione fra due mondi, guardata raramente con speranza, più spesso con angoscia e con rimpianto.

Gilles Deleuze deems Philippe Garrel to be the filmmaker who has best expressed cinematographic thought departing from body narrative. The article that follows discusses the principles of this thesis from the link existing among bodies and  lm editing. To best understand Garrel's proposal, the text proposes an esthetic analysis of both periods into which the work of this filmmaker is divided: the experimental where the presence and participation of his lover Nico and the narrative one where Garrel films the link existing between the birth of his son and the forgone and unretrievable love of Nico.

Gilles Deleuze considera a Philippe Garrel como el cineasta que culmina con un pensamiento figurativo en el cine. El siguiente artículo aborda los principios de esta tesis tomando el vínculo que los cuerpos adquieren en el montaje fílmico. Para ello, propone el análisis estético de los dos períodos en los que se divide la obra del cineasta: uno de experimental, en el que destaca la presencia y la participación de su amante Nico, y otro de narrativo, donde el cineasta filma la relación que el nacimiento del hijo establece con el amor pasado e irrecuperable de Nico.

Gilles Deleuzek gorena jo zuen zineman pentsamendu figuratiboa erabiliz, Philippe Garrelen esanetan. Artikulu honetan, tesi horren printzipioak jorratzen ditu, gorputzek  film-muntaketan lortzen duten loturari helduz. Horretarako, zinemagilearen obra bereizteko erabiltzen diren bi aldien azterketa estetikoa egiten du: bata, azterketa esperimentala; bestea, narraziozkoa. Lehenengoan, zinemagilearen maitale Nicoren presentzia eta parte-hartzea nabarmentzen da, eta bigarrenean, zinemagileak haren semearen jaiotzak Nicorekiko iraganeko maitasun berreskuraezinarekin ezartzen duen harremana filmatzen du.