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"Kelley Conway"
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Chanteuse in the City
Long before Edith Piaf sang \"La vie en rose,\" her predecessors took to the stage of the belle epoque music hall, singing of female desire, the treachery of men, the harshness of working-class life, and the rough neighborhoods of Paris. Icon of working-class femininity and the underworld, the realist singer signaled the emergence of new cultural roles for women as well as shifts in the nature of popular entertainment.Chanteuse in the Cityprovides a genealogy of realist performance through analysis of the music hall careers and film roles of Mistinguett, Josephine Baker, Fréhel, and Damia. Above all, Conway offers a fresh interpretation of 1930s French cinema, emphasizing its love affair with popular song and its close connections to the music hall and the café-concert. Conway uncovers an important tradition of female performance in the golden era of French film, usually viewed as a cinema preoccupied with masculinity. She shows how-in films such as Pépé le Moko, Le Crime de Monsieur Lange, and Zouzou-the realist chanteuse addresses female despair at the hopelessness of love. Conway also sheds light on the larger cultural implications of the shift from the intimate café-concert to the spectacular music hall, before the talkies displaced both kinds of live performance altogether.
eBook
Agnès Varda
Both a precursor to and a critical member of the French New Wave, Agnès Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings. Critics and aficionados have celebrated Varda's independence and originality since the New Wave touchstone Cleo from 5 to 7 (1962) brought her a level of international acclaim she has yet to relinquish. Film historian Kelley Conway traces Varda's works from her 1954 debut La Pointe Courte through a varied career that includes nonfiction and fiction shorts and features, installation art, and the triumphant 2008 documentary The Beaches of Agnès . Drawing on Varda's archives and conversations with the filmmaker, Conway focuses on the concrete details of how Varda makes films: a project's emergence, its development and the shifting forms of its screenplay, the search for financing, and the execution from casting through editing and exhibition. In the process, she departs from film history's traditional view of the French New Wave and reveals one artist's nontraditional trajectory through independent filmmaking. The result is an intimate consideration that reveals the artistic consistencies and bold changes in the career of one of the world's most exuberant and intriguing directors.
eBook
Responding to Globalization: The Evolution of Agnès Varda
[...]French cinema has been global from its inception, if we think of globalization as the “increasing speed, ease, and extent with which capital, goods, services, technologies, people, cultures, information, and ideas now cross borders” (Gordon and Meunier 5). Another, more auteur-specific example of the transnational loop of aesthetic influence can be found in Jean-Pierre Melville’s crime films, which manifest both American and French influences, and, in turn, exerted influence on American independent film director Quentin Tarantino and on Hong Kong/Hollywood director John Woo. [...]phenomena such as the mobility of directors, cast, and crew and the transnational characteristics of style and genre have long challenged the notion of French cinema as something confined to France. When Varda questions why a chef who can charge enormous sums for a meal engages in gleaning, he responds that he likes to know where his food comes from and that he would rather pick his own herbs than buy herbs transported by truck from Italy and refrigerated for three weeks. [...]in a few brief scenes, the film has introduced us to farmers who participate directly in a system that produces enormous waste, poor people who supplement their diets with discarded food, and a chef who gleans because he cares about fresh, locally produced products. Another way in which Varda’s work is inflected by the forces of globalization is her embrace of new technology. Since 2000, she has used a digital video camera and nonlinear editing in the creation of two theatrically released feature films, Les Glaneurs et la glaneuse (2000) and Les Plages d’Agnès (Agnès’s Beaches [2008]).
Journal Article
New Constellations
American culture changed radically over the course of the 1960s, and the culture of Hollywood was no exception. The film industry began the decade confidently churning out epic spectacles and lavish musicals, but became flummoxed as new aesthetics and modes of production emerged, and low-budget youth pictures likeEasy Riderbecame commercial hits.New Constellations: Movie Stars of the 1960stells the story of the final glory days of the studio system and changing conceptions of stardom, considering such Hollywood icons as Elizabeth Taylor and Paul Newman alongside such hallmarks of youth culture as Mia Farrow and Dustin Hoffman. Others, like Sidney Poitier and Peter Sellers, took advantage of the developing independent and international film markets to craft truly groundbreaking screen personae. And some were simply \"famous for being famous,\" with celebrities like Zsa Zsa Gabor and Edie Sedgwick paving the way for today's reality stars.
eBook
New Wave Cinéaste to Digital Gleaner
It is hardly news that Agnès Varda is fond of (one might venture besotted by) Paris’s 14th arrondissement, where she has made her home since first arriving on the rue Daguerre in 1951. She devoted an entire film to the daily lives and preoccupations of the denizens of her beloved rue Daguerre,Daguerréotypes(1974). Her second feature film,Cléo de 5 à 7(Cleo from 5 to 7, 1962) is largely set in that southern arrondissement, cradled between the green swaths of the Luxembourg Gardens to the north and the Parc Montsouris to the south. To the west beckons Montparnasse
Book Chapter
“A New Wave of Spectators”: Contemporary Responses to Cleo from 5 to 7
ABSTRACT The ciné-club was central to French fi lm culture in the 1950s and 60s. Analysis of ciné-club programming, educational activities, and of questionnaires fi lled out at the premier of Agnès Varda's Cleo from 5 to 7 reveals that the ciné-club powerfully shaped viewers' tastes and viewing skills.
Journal Article
“A New Wave of Spectators”: Contemporary Responses toCleofrom 5 to 7
ABSTRACTThe ciné-club was central to French fi lm culture in the 1950s and 60s. Analysis of ciné-club programming, educational activities, and of questionnaires fi lled out at the premier of Agnès Varda'sCleo from 5 to 7reveals that the ciné-club powerfully shaped viewers' tastes and viewing skills.
Journal Article
The international film musical
This is a comparative consideration of the musical's role within national cinema traditions. While the musical is one of cinema's few genuinely international genres, it has often functioned as an explicitly local or national form, drawing upon distinct traditions understood as native rather than international.
eBook