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Creator: Ocho Loco
Biography: Um cara que escreve coisas coerentes que só os incoerentes entenderão
Duration 1 Hours 19 minute countries China Director Xiaoshuai Wang audience score 38 vote 2018. Free movie chinese portrait hd. The hardest workout EVER :working out while trying to resist the smell of sugar. Free movie chinese portrait clip art. Free movie chinese portrait movie. Free movie chinese portrait online. Sério mesmo. Onde é esse lugar gente, MARAVILHOSO! Como queria estar lá...
Ano de 2019 acabando eu aqui ouvindo
Alguém ouvindo esta bela canção 2018.
Por que veo esto si después no duermo. I. We use cookies to offer you a better experience, personalize content, tailor advertising, provide social media features, and better understand the use of our services. To learn more or modify/prevent the use of cookies, see our Cookie Policy and Privacy Policy. Resumo: O documentário Os Respigadores e a Respigadora de Agnès Varda é um dos mais excitantes e reveladores trabalhos do cinema europeu de autor. A metáfora abrangente de respigar constitui uma reconsideração crítica de algumas atitudes da nossa sociedade de consumo. Este filme ensaio de dados factuais e pessoais e, também um trabalho em progresso através do qual a cineasta questiona a sua vida e mostra a sua fascinação pela arte, em especial pela pintura. Palavras-chave: cinema digital, documentário, pintura, auto-retrato, road movie, respigar tradicional e moderno. Resumen: El documental Los espigadores y la espigadora, de Agnès Varda es uno de los trabajos más interesantes y reveladoras del cine europeo de autor. La metáfora de espigar es una reconsideración crítica de algunas actitudes en nuestra sociedad de consumo. Esta película ensaio de datos factuales y personales es también un trabajo en progreso por el cual el cineasta questiona su vida y muestra su fascinación por el arte, la pintura especial. Palabras clave: cine digital, documental, pintura, retrato de uno mismo, road movie, recoger tradicional y moderno. Abstract: Agnès Varda's critically acclaimed documentary The Gleaners and I is one of the most exciting and revealing digital works within European auteurist cinema. The all-embracing metaphor of gleaning constitutes a creatively critical reconsideration of some depreciated attitudes in our consumer society. This film essay made of factual and personal materials is also a kind of work in progress through which the filmmaker herself calls her life into question and shows her fascination for art and mainly painting. Content may be subject to copyright. Doc On-lin e, n. 10, agosto d e 2011, t, pp. 22 - 59. G LEANING I MAGES F ROM O T HERS A ND M YSELF WIT H A D V C AMERA: A GNÈS V ARDA ’ S T HE G LEANERS A ND I Miguel A Lomillos Resumo: O documentário O s Respigadores e a Respigadora de Agnès Varda é um dos mais excitantes e reveladores trabalhos do cinema europ eu d e autor. A metáfora abrangente de respigar co nstitui uma reconsideraç ão crítica de algumas at itudes da nossa sociedade de consumo. Palavras-chave: cinema digital, d ocumentário, pintura, auto -retrato, road movie, respigar tradicional e moderno. Resumen: El documental Lo s espigadores y la espigadora, de Agnès Varda es uno de los trab ajos más interesante s y reveladoras del cine europeo de autor. La metáfora de espigar es una reconsideración crítica de algunas act itudes en nuestra sociedad de consumo. Esta película en saio de d atos f actuales y personales es también u n trabajo en progreso p or el cual el cineasta questiona s u vida y muestra su fascinació n por el arte, l a pintura especial. Palabras clave: cine digital, documental, pintura, retrato de uno mismo, road movie, recoger trad icional y moderno. Abstract: Agnès Varda‘s criticall y acclai med d ocumentary The Gleaners and I is one of the most excitin g and reveali ng digi tal works within European auteurist cine ma. T he all-embracing metaphor of gleaning constitutes a creativel y cr itical reconsideratio n o f so me depreciated attitudes i n o ur consu mer so ciety. This film es say made of factual a n d p ersonal materials is also a kind of wo rk in progress through which the filmmaker herself calls her life into question and sho ws her fascination for art and mainly painting. Keywords: Digital cinema, documentar y, p ainting, sel f -portrait, road movie, tra ditional and modern gleaning. Résumé: Le documentaire L es Glaneu rs et la glan euse, d'Agnès Varda est l'un des travaux les plus excita nts et révélateurs d u ci néma d‘a uteur européen. La métaphore du glanage est une reconsidérati on critique de certaines attitudes dans notre société de consommation. Cet e ssai cinématographiq ue, à base de données factuelles et personnelles, est également un travail en co urs par lequel la cinéaste s‘i nterroge sur sa vie et sa fascination pour l'art, surtout la p einture. Mots- cl és: cinéma digitale, do cumentaire, p einture, portrait de soi, road movie, glaner traditionnel es et modernes.. PhD in Audiovisual Communication from the U niversity of the B asque Countr y, Spain. Independent researcher based in Bristol, UK. E -mail: Mig uel. Lomillos@u Gleaning images from others … - 23 - When you reap the harvest of your land, Do not reap to the very edges of your field Or gather the gleanings of your harvest. Do not go over your viney ard a second time Or pick up the grapes that have fallen. Leave them for the poor and the stranger. Leviticus 19:9-10 The Gleaners and I: a first person documentary Agnès Varda‘s 2000 celebrated documentary L es Glaneurs et la Glaneuse (literall y, The male gleaners and the fe male gleaner) was render ed The gleaners and I for the English spoken audience – Varda herself m entions this detail in her sequel T wo Years After ( Deux ans après, 2002). The lack of grammatical gender in English has obviousl y brought about the ch ange, but the result c ould no t be more accurate in order to deconstruct the levelling metaphor o f tw o contrasted practitioners of gleaning 1 b y restoring the identity of the individual to its most subjective expression: ‗I‘. Moreover, b y putting toget her two complete dif ferent elements, the ‗and‘ o f the title does not function only as a mere opposition and/or addition but as the strong link from which the film is meant to be seen: they and I. From the very title, the female filmm aker or glaneus e proclaims herself to be part of the story: the subject becomes also object which is none other than a social one: the new modern forms of ‗gleaning‘. Yet I should make clear one significant point about this correlation between the filmmaker‘s self ( la glaneuse) and the object (the gleaners), i. e. the imbrications of self- portrait and documentary: all that is said about the 1 T he French title is in fact a play on words based on gender in or der to stress the fe minine voice. The first p art of the ti tle ( les glaneu rs) is t he plural form that may refer to male, female or both, but t he second part ( la glaneuse) can onl y be female. T he same con struction would not work if t he fil mmaker were male. The second clause o f the title stresse s her singularity (feminine) o pposite a plural s ub ject. Whether it is ‗la glaneuse‘ in the ori ginal version or ‗I‘ in the E nglish one, the fe male ide ntity is ob viously stated b y whoever si gns the film: Agnès Varda. Miguel A Lomillos - 24 - former is considered a ―digression‖ with regard to the latter – this term is used b y the filmmaker h erself as if Varda, humb le and respectful but also conceding herself a space by h aving a self -justifying stance, did (not) want to deviate from the centra l topic. The all-encompassing metaphor of gleaning allows this identification since all the individuals in the film are considered gleaners in both a literal and a figurative sense: the y collect things from the g round whether in the country, on the seashore or in the town; the female filmmaker colle cts some thro wn-out objects and, more importantly, she collects image s and sounds. The Gleaners and I could be seen, obliquel y, as an il lustration of the theory of one of the most distinguished characters in the film: the psychoanalyst and viticulturist Jean Laplanche. He pr esents himself as ―a psychoanalyst, but above all a theorist or rather a philosopher of analysis‖. Gleaning images from others … - 25 - He prioritises the oth er over the self in the formation of the hum an subjectivity, an ―anti - ego philosophy‖ (― une antiphilosophie du sujet ‖) 2 that ―shows how man first or iginates in the other‖. 3 My aim here is to compare the others and the self not in psyc hoanal y tical terms but as two interconnected strands of the narrative. As a ‗glaneuse‘ Varda is but a narrative-symbolic construction derived from her contact – factual but above all textual – with all the ‗gleaners‘ disseminated in her documentary. Gleaning is constructed b y the filmmaker as a real and imaginar y world t hat seduces her and is full y invested with her subject ivity. At the be ginning of the film, she prioritises the others (real gleaners and those represented in paintings) over herself. Then, by means of a metaphorical process, she allows herself to be const ituted as a glaneus e with aesthetic vocati on (performing in front of Jules Breton‘s canvas ―La glaneuse‖ the playful substitution of an ear of wheat b y her small camcorder). It is only when she confers herself this strong s ymbolic identit y th at she feels the competence to occasionally ―digress‖ from that subject (others) and talks about herself (her ageing body). I shall discuss at the end of this essa y the ethical implications, if an y, of interposing the self with social and political issues in a documentary film. For now, it is sufficient to stress that Varda talks about herself not in the straightforward wa y that others do but onl y b y means of a deepl y st ylised metaphoric and aesthetical process (as a filmmaker- glaneuse she onl y ‗speaks‘ about her ageing bod y and things that catch her artistic eye, above all her fascination for art and mainly pa inting). Even in terms of her mediations through image and sound Varda assumes certain ‗restrictions‘. 2 Film quotatio ns i n Englis h s ubtitles are respected according to the DVD r eleased in 20 02 by American Zeitgeist Video, but I put forward the French version when it i s noticeabl y different from the translatio n. 3 Laplanche take s t he decentring of the human subject be yond the familiar para meters of post-structuralist French theor y a nd reformulate s Freud ab andoned ‗seduc tion theory‘ as a general theory of pr imal seduc tion. For an o verview o f his wo rk on otherness i n English see Jean Laplanche, Essays o n Othern ess, London / Ne w York: Routledge,, 199 9. Miguel A Lomillos - 26 - In The Gleaners and I Varda always interacts openl y with the interviewees but prefers to stay off -screen as a voiced presence in order not t o overshadow the gleaners. She allows herself to be on-screen mainl y in the ‗digressions‘, which generall y occur in private pl aces such as he r home o r her car (in both cases she appears most ly in a fr agmented manner: in brief glances on driving mirrors, close -ups of part o f h er f ace showing one e ye, arms, and above all sho wing her hands). Howev er, she takes centre stage in three moments of direct intervention on screen: 1) when she r eveals her attraction towards the p otatoes with the shape of a heart and intervenes following the interviewee talking about the discarded potatoes as they do not fit the commercial sh ape; 2) when she appears alone eating a fi g; this is the only significant moment in which Varda talks on screen as she appeals to the audience in this occasion: alone and surro unded by fig trees whose fruits are about to go off, she permits herself to criticise those who do not offer their fruits to the gleaners; 3) when she catches a sight of a antique shop called ―Finds‖ (―Trouvailles‖) while travelling b y car, decides to ent er spurred on b y curiosit y and fin ds inside precisely a painting about female gleaners. Indeed, these three moments of personal int erventions se em to epitomise three aspects of the Vardian conception of document ary: t he aesthetic, the critical and the self-referential. They are also present in the most striking sequences of the film, two brief self-portraits at home in which the filmmaker f eels compelled to reflect abou t her age ing body using paintings as a reference: Jules Breton in the first, Rembrandt in the second. I shall analyse in detail these key sequences at the end of this essay. Gleaning images from others … - 27 - Varda‘s visual and aural approach ( ‗disembodied‘ voice presence in the encounters with the gleaners and fragmented bod y in the self -referential digressions) 4 is at the same time a deference to the social subject and also a poetical, ethical ‗restriction‘ about her intimate ruminations. Despite this style of representation being connected to the Nouvelle Vague cin ematic tradition, such subjective digressions would have been c onsidered a s an intrusion at that time. The way in which The G leaners and I presents the 4 It should be taken i nto account that the ‗di sembodied‘ off - screen voice i mplies Var da‘s body behind or next to the ca mera, which is also acknowledged by the characters‘ gaze. Her voice also s ignals the distance ( near/ far) from t he spea ker bec ause t he h idden microphone is closer to the interviewee. The dialec tics between Vard a‘s spontaneously inflected voic e off-screen and her tho ughtful, calm voice -over co mmentar y enriches the aural/vis ual strategy of the first person narrato r/character: a strong sound presence that has the self - given po tentiality o f appearing occ asionally (and mostly fragmented) on screen. In both image and sound Varda operates sinecdochica l ways of rendering her ph ysical bo dy. Furthermore, some point - of -view shots embod y her first -person narration. Miguel A Lomillos - 28 - correlation between ‗they and I‘ disavows conventional notions of genre: the film is neither an orthodox documentary nor an int egral self -portrait but an amalgamation of both. The Gleaners and I is a poetic and personal ess ay that enlarges subj ectivity a nd authorship in documentary film made in t he digital era. Although the majority of the ch aracters leave a deep mark on the audience, the aim of the documentary is not to explore, to a large extent, personal mot ivations or interests (except for the last character to appear i n the film, the Master in Botany Alain who is really a special and fascinating character). With the exception of two who reappear briefly, c ha racters simply arrive, take up their place and go out – they a re the transitory chapters of a ―wandering road documentar y‖ (Varda‘s description of her film). The filmmaker is the onl y character to have the ri ght to r eappear; s he is the distinctive protagonist, the only individual who shows, up to a point, her intimate self. The int ernal and s ymbolic logic of the film is imbued by the subjectivity o f the filmmaker, her articulating voice and her wrinkled body: ―the y and I‖, ―the country, the town... and my h ome‖, ―the road and my hands‖. Countryside, art and city gleaners The film starts with a reference to th e illustrated dictionary Larousse: ―To glean is to gather after the h arvest‖. A repr oduction of J ean -François Millet‘s famous painting The Gleaners ( Les glaneuses, 1857) appears in that page of the dictionar y and it is evident that this famous canvas a cts as an essential reference for Varda, a true art lover, when making a do cumentary about today ‘s g leaners. 5 Thus, before the filmmaker tra vels throughou t 5 T here is also a reproduction of Jules Breto n‘s La glan euse in the dictio nary and Varda comes back to it b efore her perfor mance in front of that canvas. Both p aintings ‗gat hered‘ by the dictionary and i n turn ‗gleaned‘ by the fil mmaker are the core o f the film and its title. Gleaning images from others … - 29 - France to gather images of the surviving and new forms of g leaning, she heads for the Musée d‘Orsay to show in situ Millet‘s painting next to some tourists, especially some Japanese f emales t aking pictures with th eir digital cameras. In the next sequence, an old female peasant says that gleaning, as it used to be, is an activity that died out completely ―b ecause ma chines a re so efficient nowadays‖ (but other glea ners ―are quite pleased when the machine malfunctions‖ as some will tell Varda later on). Usin g as mementos some brief beautiful footage and pai ntings, Varda makes clear that gleaning in the past was a female practice. As Millet‘s painting conveys, glea ning is linked to poor women in rural societies. The female peasant tells us that the long day of gleaning, fro m the very early mornin g, was ver y hard work but women shared their time, food and labour in such a way that is now well remembered. Whil st drawing on different sources and materials in order to ground the origins of gleaning, Varda states from the very beginning that paintings are not of lesser interest than real people. What is the legacy left b y those old female gleaners? I s this activit y still relevant in our ―satiated society‖ (―societé de la sacieté‖)? What has glea ning become these days? Varda ‘s film is the witty answer to these questions. P utting gleaning as a vast metaphor of our time and also as the raison d'être of Varda‘s quest, the documentar y becomes a sort of work in Miguel A Lomillos - 30 - progress, a huge panel of characters and places, a bunch of images gathered to account for this essential gesture: those w ho bend down to collect something, whatever it ma y be: fruits, grapes or vegetables in the countryside; food and leftovers in the rubbish containers and cit y markets; all sort of domestic utens ils, electrical appliances and other paraphernalia o n the streets. Varda feels secretly attracted b y this ―modest gesture of stooping to glean in the towns today as in the fields yesterday‖ which she comes t o record in wha t she regards as the most humb le of all film forms, the documentary. This ph ysical gesture is p art of a menial work that combines religious and socio- economical values: an ancestral ritual of gra titude and respect tow ard the earth, an old practice for poor women and a wa y of n ot wasting anything. The most remarkable feature of the new practitioners of this ancestral gesture o f ‗walking with a stoop‘, whether in rur al or urban areas, is their solitude. The loss of the ceremonial, coll ective sense – feminine in the past and now mi x-gendered but indicating neve rtheless a broader masculine presence – comes to stress the struggle for survival as the onl y common factor between the modern gleaning and the traditional one. However, a number of lively scenes, such as t he Nenón family sin ging together and using the pruning shears as rhythmic musical instruments in the vineyard, confirms that not every thing is degradation or disappearance. Yet this is much more in tune with the overall se nse and mood of the film because what it does is to celebrate the repetition or replacement of any form of gleaning, even when it is identified in the town with the people who live rummaging around rubbish and leftovers on the streets. Even with a suggestive sense of criticism and denunciation, The Gleaners and I constructs a worldview completely affirmative, optimistic, and full of Gleaning images from others … - 31 - vitality. 6 It is like a r eturn to the Garden of Eden, to the state of nature where the onl y thing you need is to bend over or stretch your hand to collect the earth‘s fruits. There is no sin, therefore no mone y, no e conomic exchange. W ith no value in exchange, the labour of gleaning is not actually a job. In any case it is gratifying work as everything you collect is yours. It is far beyond the dream of communism (in gle aning, p rivate propert y is temporally ‗cancelled‘ a fter the harvest, but the collection is essentiall y an individual or familiar task) as the scrupulou s commandments of the bourgeoisie. 7 Paradoxically, the scene that gets clo ser, in visual or pictorial terms, to the representation of (an individual) paradise is the one that shows the filmmaker, as a critical and lon esome Eve, picking up and savouring a fig that she calls ―fruit from heaven‖. Varda‘s view on moder n g leaning, whic h is close to e ither the abandoned garden or t he dumping ground, revises the social myth of original sin and enlarges our views on dialectical pairings such as happiness and conflict, innocence and labour, abundance and scarcity, dirtiness and purity. To pull together in the same all -inclusive metaphor those who coll ect spare potatoes in the countr y, oysters in the seaside, and detritus in the street or parsley in the marke t bins should involve advantageous prerogatives. Firstly, to demystify the social meanings of rubbish as the realm of the execrable and those who approach that world as despicable (it may even involve a choice not ruled exclusively b y necessit y but also b y ethical and 6 T he fil m actuall y prod uces a joyful impression in the audience. This is co rrobo rated by the v ast number of ge nerous people wh o wrote letters and gave gifts (both related to artworks made out of gleaned materials) to Vard a, as it is said and s hown i n t he follow - up fi lm. This extraord inary response an d th e international commercial success of the film were, in fact, the main reasons for making the sequel. 7 Many cr itics and reviewer s have pointed out the utopian, undisciplined sense i mplicit in the metaphor of gleaning. See for example Jake Wilson, ― Trash and Treasure: The Gleane r and I ‖, / Miguel A Lomillos - 32 - political responsibilit y) 8. Secondly, it is worthwhile to set up an openly poetic point of view about a marginalised social behaviour whose senses and meanings cannot be reduced exclusivel y to ideolog ical or political terms. By takin g rejected food out of the capitalist process and red eeming it from the incipient process of deca ying, gleaners remind us not only o f the traditional values of saving and preservation but of the basic truth that food is in the end a sacred value. The intensel y subjective treatment of the topic is first and foremost the or ganising element of the film since the voice -over commentary guides purposefully the events shown. Varda is on tour and her guiding voice -over combine freely and amusingly her encounters with the gleaners, her self - reflexive stay s at home, her visits to museums and her g ood -humoured anecdotes on the roa d. She organises the narrative in three consec utive segments or axes: 1) countr yside, 2) art, craftwo rk and recycling, 3) town. This segmentation is more indicative than homogeneous. Each s egment follows the same pattern of randomness and dissemination from her trips. Fo r instance, those who collect o ysters and grapes are includ ed in segment 2 or those who pick apples in segment 3. The ‗gleaners‘ interviewed a re equally divers e and dispersed: country p eople, farmers, unemployed and poor people, artists, lawy ers, retrievers, activists, etc. Those who glean or pick up things are dri ven by necessity, fun, habit, poli tical or a rtistic reasons. The sense of drift in the film is paramount, but Varda always finds a wa y to make connections: in her commentary, she constantl y uses figures of speech involving rep etition such as pun, anaphora and anadiplosis (the repetition of the last wor ds or phr ase o f one sente nce at the b eginning of t he next); visuall y, she uses all sort of associations and rh ymes. The se techniques in both text and image, which can oc cur simultaneously, 8 T his question ab out choosing freel y to be a scavenger o r a ―picker of rec yclable material in the landfill‖ i s raised b y Edua rdo Coutinho in The scavengers ( Boca do lixo, Brazil, 1992) and Lucy Walker in Waste Lan d (B razil/UK, 2010) among others. Gleaning images from others … - 33 - reinforce the concatenation and make the flow of the film more livel y and meaningful. 9 Fig. 10 At the beginning of the film the rap song sequence, arrange d as a video clip, lightens the tone of the documentary and presents us with an explicit moral and social lesson which is at odds within a film comprising a plurality of perspectives. Although the sequence starts with Varda‘s short social reflection on mode rn gleaning (―there is no shame, just worries‖) that so on gives wa y to the t wo masculine rappers vo ices, 10 the bulk of this clip consists of a succession of isolated shots on urban gleaners, especially old women rummaging through the le ftovers around the stalls in a street market. 9 Some examples may help to illustrate these recurre nt p rocedures o f repetition and concatenation: a) One textual example: ―As we are talking ab out grapes and wine (end of the ep isode with the che f) we might as well go to a wine area‖ (next episode in Burgundy); b) T hree visual exa mples: the li ne of Parisian underground a nd furrow o n the field; horizontal shapes in the ab stract w ork of L ouis P ons an d horizontal li nes on t he road; Varda‘s hand in t he second self -portr ait and hands in a painting b y Utr illo; c) An exa mple of both text a nd image es tablishing fo ur links: Salomon retr ieving f ridges from the street, a ‗ fridge-demo nstration ‘ (t he figures are playmobil to ys) in a recycling art exhibition f or kids, a le ftist demo nstration i n Var da‘s neighbo urhood passing b y t he sculpture o f a lion ―made on bronze‖, the lion in Arles ―made of stone‖. 10 In fact Two Years After shows t hat the rapp ers are a bo y and a girl, but the girl voice sounds like a masculine o ne. Miguel A Lomillos - 34 - Some correspondence s between V arda‘s words and the l yrics of the rap actually suggest she intervened in its composition: ―To bend down is not begging but when I see them sway my heart hurts! Eating that scrap-crap, they‘ve got to live on shit -bits, they‘ve got to frisk for tidbit s. Left on the street, leftovers, rough stuff with no owners. Picking up trash like the street sweepers. Zero for us, for them much better. They got to roam around to kill the hunger. It‘s always been the same pain, will always be the same game‖. Varda shoots these anonymous people with a profound sense of respect – the camera carefully avoids showing their faces – and also stresses the individualit y and loneliness of mostly elderly bendin g women of a similar a ge to Varda‘s. There is no doubt that t he s ymbolic subst ratum for the poetic metaphor of gleaning li es in our mothers and grandmothers. 11 It is worth recalling her e the Book of Ruth, which can be seen as the poignant old story that relates old women (widows), gleaning and povert y. In the documentary, gleaning is mostl y deemed a generational activity not only b y the female peasant, but also for those who glean for fun or habit (the ―inventive and thrift y chef‖ Edou ard Loubet) or artists working with retrieved materials (Hervé). A charismatic law yer –‗his bible‘ or penal code in his hands and dressed with a gown while talking nex t to a field of cabbages – explains 11 At t he end of the documenta ry Vard a, careful about showing a women‘s point of view, recalls t hat s he be gan filming when tele vision showed a n ec lipse (a to tal solar eclipse occurred on August 11, 1999) and ―ended the film the first of May‖ while a bouquet of flowers emphasises the Fre nch Mother ‘s Day. Gleaning images from others … - 35 - effortlessly to us the current and the old rights of gleaning in France: ―Gleaning is allowed with absolute impunit y from sunrise to sundown after the harvest‖. And the old edict from 1554 ―just say s the same as the la w today. It allows the poor, the wretched, and the d eprived to enter the fields once the harvest is over‖. However, Varda‘s film leads us to deduce that gleaning will be only done with the permission of the owner. Not just because gleaners usually do not know the law but primaril y because of the imposing weight of social representation of private propert y. If the farmer does not allow it and prefers to let the fruits rot, as happen s in the protectionist vineyards o f Burgundy and with the fig trees, no gleaner will almost certainl y dare to use his/her actual legitimacy. When Varda intervenes in the fig trees field, she assumes in fact this state of affairs; she does not give rise to the question poli tically but i n terms of personal choice on the part of the farmers: ―I half -feel like inter fering but it is none of my business, it‘s their fruit... Anyway, h alf the people are stingy. They won‘t allow g leaning because they don ‘t fee l like being nice‖. This state ment presupposes that farmers allowing glea ning is the result of phil anthropic values such as generosity or ―being nice‖ while the film also points out that some farmers are d riven by pure profitabilit y as gleaners carry out effecti v e cleaning work after the harvest. On the other ha nd, when Varda raises the question of gleaning and private property to the law yer, which provokes an understandable surprise in her, the reasoning carries no further consequences: Lawyer: If gleaners remain within the law farmers cannot sa y an ything, cannot sue them for any thin g. Varda: Even on their property? Lawyer: Even then, precisely gleaning is alwa ys on private property. Miguel A Lomillos - 36 - We can easil y expect the sensible law yer to speak or read li terally th e l a w without observing the contradictions or looph oles but it is difficult to understand how Varda, a stonished, does not follo w the logical questioning: what shoul d a law-abiding gleaner do to collect vege tables or fruits in a property whose owner does not permit gleaning? What would happen legally to these gleaners who despite ―remaining within the law‖ could have a serious conflict with reluctant owners averse to gleaning? Varda plac es this talk with the lawyer as a rhetorical response to a gleaner (the respons e is actually to the audience) who does not know his rights as a g leaner. However, the film does not explore what would happen to gleaners if they knew (better) their rights; if and ho w that could change their approach to gleaning. Although politics d oes not have to be at odds with poetics in a postmodern social ‗subjective documentar y‘ as it happens in Chris Marker‘s films, the omission of further relevant questioning confirms certain lack of political and social energy. If we compare the urban gleane r – spe cifically those who search fo r food in the bins and the markets – to the archetypal countr y gleaner, the former is clearly more subjected to clash and conflict. Varda prefers not to stress this point because of the broad thematic approach and the li gh t- hearted tone and style of the film. Y et Varda presents some young squatters in conflict with a supermarket whe re the y frequentl y rumma ge throu gh it s bins. Varda makes a connection with her film Sans toit ni loi ( Vagabond, 1985) when she sa ys: ―I wanted t o know how these homeless coped with the law‖ (―Je voulais savoir plus sur ces jeunes sans toit face a la loi ‖). Varda interviews the three parties at stake: the youngsters, the manager of the supermarket and the magistrate. The staff of th e supermarket do uses th e bins with bleach because of the mess left b y the youngster s. In turn, the youngsters took this as an offense and broke the surveillance cameras and wrote graffiti on the walls. As a result the y were prosecuted and ultimately lost the case. The m agistrate stresses their disruptive behaviour in court. In Gleaning images from others … - 37 - the middle of this vignette, Varda‘s unnecessary position on this well - presented ev ent does not go beyond a simple remark on beaut y with a h int of social commentar y: ―Their beaut y is poignant when y o u realise that, f or whatever reason, they got most of their food from trash cans‖. Fig. 11 On the other hand, there is also the rivalry amon g the urban gleaners themselves. The film provides onl y on e example of this underlying conflict which vindicates si gnificantly how documentar y i s often driven b y chance. The camera accompanies black Salomon, a kind and supportive man, seeking leftovers in a ma rket and suddenl y we heard an old woman shouting rudely at him when noticing the proximit y of the man. This i nstant captures an extraordinar y moment of the stru ggle for surv ival, showing the strateg y of the physically in ferior individual tr y ing to defend his or her territory. However, it c an also suggest how the white woman feels ‗ps ychologically‘ stronger, exert ing her arresting ‗social‘ power over the black man. There are four tou ching stories of gleaners rummaging food in the bins: two men who do it out of necessity, the unemplo yed, alcoholic Clau de who lives in a ruinous caravan and affectionate, wandering Sal omon who lives with his Vietnamese friend Charly as scrap dealers s alvaging objects; and two other characters who cannot b e included in the conventional spher e Miguel A Lomillos - 38 - of the marginalised b ecause of their ethical and poli tical activism: François, the young man wit h the big boots and Alain, a highl y educated man with a master‘s degree in Botany. The last two live mostly from the trash. Varda makes contact with them in the streets in two different wa ys: François is a well-known person in the neighbourhood and makes an appointment in a cafe; the vegetarian Al ain is frequently seen b y V arda in the market and sh e needs all her nerve to approach him. Proud and coura geous François rages against the ecological disaster on the French coa st caused b y th e oil tanker Erika and also against co nsumerist people and the ir wastefulness. Varda for once supports his com plaint by insertin g ne ws footage of th e res cue operations after the E rika‘s spill. Alain‘s thinking and wa y o f life ex pand beyond the iss ues explored b y the film: he liv es in the suburbs of Paris, gets up at 4am, sells a social magazine outsi de an underground station and in the evening gives literacy lessons to foreign immigrants as a volunteer in the hostel where he lives. Without resorting to his ideological or ecologic al concerns, he justifies living on leftov ers as a means of saving mone y. His lifestyle is a kind of Franciscan disagreement. Varda shoots him collecting and eating leftovers in the marke t from a respectful distance. S he show s here more instabilit y and di scontinuity than usu al in framing and editing – the interviewee is barel y seen talking onscreen but through syncopated cutting and a-synchronous sound. This st y le of representation confers th e episode of Alain in the market a peculiar qu ality. Months later, Varda goes to Alain‘s residence in the evening and shoots him giving lessons in the hostel. I f bending over is a humble gesture and doc umentary a humble genre, thi s character, not by chance the last one, would suggest, in a broad sense, a lucid po rtrayal of Laplanche‘s ―anti - ego p hilosophy‖ (in fact, V arda dedicates to him the largest chapter in Two Years After). Gleaning images from others … - 39 - Fig. 12 Alain‘s episode is the penultimate sequence in the film. Varda confesses th at the last t wo sequences impressed her the most. The fina l scene of the documentary presents us with images of Hédouin‘s painting Gleaners fleeing before the Storm in the Museum of Villefranche sur Saône being moved from the st ockroom to the courtyard in order to be seen and filmed. Varda ex pressed her desire to see in situ this oil on canvas she had only seen be fore in a bl ack and white reproduction. A storm is brewing at the precise moment Varda‘s desire is satisfied: ―to see it in broad day light with stormy gusts lashing against the canvas was true delight‖. I f Va rda tries to ―accommodate ch ance‖ (―composer avec le hazard‖) like the artists using rejected objects, chance acts here more genuinel y than in th e sequence of the painting found in the antique shop 12 or in the one called the ―d ance of the lens cap‖ when she forgot to turn the camera off. 12 This seque nce is in fact a series of coincidences. Firs tly, the shop is called ‗Finds ‘. Secondly, Varda co mes acr oss the a mateur painti ng a fter being bec koned b y two automatons. T hirdly, the painting ―combines both the humble stoop ing o f Millet ‘s gleaneresses a nd the pro ud po sture of Breton‘s gleanere sse. The p ainter had one old dictionary at hand‖. No t surprisingly, the filmmaker needs t o justify hersel f: ―Honest, this is not a movie tric k. W e reall y did find these glea neresses pure ly b y chance. This p ainting has beckoned us because it belo nged to this film‖. Miguel A Lomillos - 40 - Fig. 13 Varda can be easily included in the group of collectors of discarded objects with aesthetic vocation who appears i n the mi ddle p art of the documentary. In fact, this segment comes immediately after two consecuti ve sequences: the first, she describes her ―gleaning of images‖ as an ―activité de l‘esp rit (... ) sans législation‖ (filming objects such as reddish vegetables and overexposed sunflowers as an ‗artistic‘ cou nterpart to the final part of the lawyer‘s le ctu re on gleaning for fun) and th en her second self -portrait via Rembrandt. The w a y Varda relates art and gleaning enlarges the central metaphor. Artists and retrievers convey the pleasure of gift when coming across the gleaned object: ―The y are li ke pr esents left on the streets, it‘s like Christmas‖ (H ervè); ―It‘s li ke a lottery‖ (Salo mon), ―I treat them like treasures‖ (Varda). Whether they glean b y necessity, for pleasure or by choice, in urban or rur al locations, the ex perience of gleaning entails notions of infanc y, adventure, di scovery, and fortune. Arti st g leaners treat objects like messa ges in a bottle or remains of a shipwreck. According t o Renaissance po et Joachim du Bella y‘s poem recited b y J ean Laplanche, what gleaners do is ―to gather relics‖. Aban doned objects have a past that it is still alive; they leave their traces that beckon the street explorer and can be incorporated as a ―second chance‖ b y th e artist s. The gleaned obje ct i s Gleaning images from others … - 41 - invested with the revered sense of a ‗found object‘ that ―contains a part of us‖. 14 Is there any relation between g leaning and psychoanalysis? Like gleaning, ps yc hoanal ysis feeds on ever ything that is discarded, refused, acting in the margins o f conscience a nd reason, ―what other disciplines consider useless an d valueless‖ ( Benoliel, 63). In Tw o Years After, Laplanche and Varda regret not having thought of this relation in their previous encounter. Now La planche sa ys that Freudian psychoanalysis is ―a kind of gleaning‖: ―We pa y attention to things no one else do es: wh at falls from speech [ discourse]. What is dropped, wh at is picked up; words which are beside usual spe ech are of special value t o ps ychoanalysts because things which are picked up or gleaned a re more valuable to us than what is harvested‖. Despite (o r maybe because of) this omission in The Gleaners and I, Varda makes a remarkable visual association which introduces to us Jean Laplanche‘s ―doubl e life‖. Laplanche appears first as a wine grower. Then, when Varda introduces to us his ‗second pr ofession‘, which is in tru th the first, she pays attention to a small spot of white paint in a cracked wooden window in his house. While Varda utters ―Jean Laplanche, a keen Miguel A Lomillos - 42 - wine grower, has another calling, psychoanalyst‖ we are shown four shots: one long shot of a ruined wall and three extreme close-ups of the white spot, each one getting closer t o the spot. 13 This is the only significant moment in the film whe re the voic e-over commentary is not t rying to fix the events and its meanings. 14 This ‗plastic‘ relic of ero ded material, shown as a g radual focus on the object, depicts, no doubt, the deep undertaking of psychoanalysis. The changing and fragile conditi on of the spot mirrors that of the knobbl y wood which was entirely painted in the past. The spot is in fact strongl y ti ed to a wooden knot with spirals looping like in Hitchcock‘s Vertigo. The wooden knot keeps the spot going in the same way glea ners expand the cycle of life and death of objects. The spot of white paint is a second nature to the wood and portrays it like a purel y abstract form: a headless white bird? The map of an unknown territ ory? Metaphorically it is no other than the hand of ti me. The bi g topics of death and time, art a nd nature are rendered in such a plastic stage –―gl eaned‖ b y an artistic eye who loves ―filming rot, leftovers and waste‖. The possibilities of the small DV camera f or the self -portrait: To film with one hand my other hand The widespread adoption of digital video cameras and new media in the late nineties, which parallels, on a much bigger scale, that of the seventies with the first analogical video cameras, is certainly the most significant factor within the contemporary globalising transformations for the understanding of the pervasive proliferation of first-person film narr atives such as the 13 The windo w i s clea rly not a part of the wall we see and thi s s uggests that may be it i s not Laplanche‘s estate. Varda could have u sed some d iscarded shots at t he ti me of editin g as a way to aesthetically e mphasize Laplanche‘s pro fession. 14 Varda‘s affinit y for visual/tex tual connections are mainly stated explicitly b y the text as it happened j ust a moment b efore when Lapla nche sa ys ―I took over my father‘s state‖ a nd Varda connects a br ief shot of a red dish spot i n the middl e of a grey wall surface with a plongée shot of Laplanche‘s state surrounded by trees. Gleaning images from others … - 43 - family film, diar y film, first-person documentary, and the personal -essay documentary (Aufderheide: 1). It is well known that these tiny di gital cameras, due to their flexible technical features, are particularl y apt for domestic use and ther efore suitable to self -representation. Yet The Gleaners and I, mi xing intelligently personal and b roader issues, cannot be strictly considered a confessional film nor can it be include d, in terms of its narrative a nd aesthetics, in the socially a ctivist, first-person video storytelling format that has mushroomed in the digital age. In this autobiographical videomaking ―identity is no long er a transcendental or essential self that is revealed, but a ‗staging of subjectivit y‘ – a representation of the self as performance. I n the politicisation of the personal, identities ar e frequently pla yed out among s everal cultural discourses, be the y ethnic, national, sex ual, racial, and/or class bas ed‖ (Russell 1999: 276). Va rda‘s document ary obvious ly takes part in this historical, sociological and technological sphere but primaril y tak es root in the strong tradition of European auteurist ci nema. Astruc‘s theoretical contribution of the caméra-stylo (camera used as a p en) and Fren ch Nouvelle Vague h ad already used small formats s uch as 16 mm s ynchronous shooting permitting hand-held long continuous takes not only as a means of personal aesthetic expression but also as a c oncurrent wa y to deal with individual, private matters. Varda has alway s shown a confident preoccupation for including herself, her famil y ( above all her late husband Jacques Demy) and the people around her in film s such as Uncle Yanco (1967), Daguerreotypes (1974-75), Ulysse (1882), Jane B. par Agn ès V. (1987), Jacquot de N antes (1990), L es Demoiselles ont eu 25 ans (1993), L‘univers de Jacques Demy (1993-95). The Gl eaners and I is mostly the result of the encount er of the old lady of the Nouvelle Vague with digital technology, an encounter that constitutes the crux of her documentar y. Therefore, it is no t surp rising that she shows herself just as she is at th at time, displaying her signs of old age, opening the doors of her house, Miguel A Lomillos - 44 - considering, as a filmmaker, the aesthetic and narrative possibilities of the small digital camcorders. Nearly five mi nutes in to the film, at the museum in Arras in front of Jules Breton‘s La glane use, Varda stages with ease he r identification with the female gleaner‘s ―proud posture‖ – as Varda desc ribes he r in a subsequent sequ ence. This tall and good-figured woman is not portra yed bending ove r as Millet‘s female gleaners but is standing straight. Varda, in front of two wardens standing on stools and holding amusingly a shawl, emulates the female of the painting b y ke eping a bunch of wheat on h er shoulder. Then she drops it and r eplaces it with her small camcorder: ―There is another woman gleaning in this film, that‘s me‖ (―L‘autre glaneuse, celle du titre de ce documentaire, c‘est moi‖). Gleaning images from others … - 45 - Next, this g leaner of images present us with he r new tool: ―These new small digital cameras are fantastic (detail shot of Varda‘s e ye; part of the screen betrays its pix elated tex ture), their effects are stroboscopic (the pixelation expands on the screen while a new sh ot of a hand shell -covered mirror appears), narcissistic (the small mirror turns in front of Varda‘s face) and even hyperrealistic (the mirror continues tu rning but, when it stop s, there turns up the drawing o f an old woman wit h a s ad expression in the mirror)‖. Varda ends this compressed introduction with a shot of the camcorder user guide and begins another sequen ce that intensifies, unde r a strange oneiric atmosphere, her travel throug h the looking glass. There is first a blurred to in-focus sweep in slow -motion from a houseplant to Vard a‘s face; sh e is l ying down in a div an and st retches h er h and, refusing the camera. Continuing with the same reddish an d brown dominant textures and strong contrast betw een shades and li ghts, the sequence carries on with digital ef fects of discont inuity an d fading over Varda‘s foreshortened face looking seriousl y at the camera. Th ese effects ma ke her face move back and forth at the lower ri ght angle of the frame, intensifying the game of refusal. Finally, in a darkened room, the small camcorder is us ed as a mirror in or der to show closel y V arda c ombing her hair. In fact, she is ex ploring her hair roots; we see in detail, in the foreground, her white hair roots and wrinkled hands while in the background the mi rrored surface of the wooden furnitu re reflects the s ame act from the back. The ability of the digital camera f or self-exploration is so acute that the filmm aker needs to clear up her thoughts to end this sincere self-portrait: ―No, no, it‘s not O rage, No, it‘s not O despair, It‘s not old age, my enemy, It might even be old age my friend But still my hair and my hands Keep telling me that the end is near‖. Miguel A Lomillos - 46 - The presentation of th e small digital camera gives way to the intimate self- representation of the filmmaker‘s ageing female body. The divorce between camera-mirror and subj ect is the st ylized reproduction of the shock produced b y that mirroring. It is an anguished ps yche as a resu lt of a ph ysical landscape. Varda‘s distinctive visual st yle combining informality and untidiness with a strong sense of composi tion turns out to be particularly significant in this self-mirroring scene endeavouring to distort any trace of visual realism. Making no concession neither to exhibitionism nor to playful theatricalit y, the outcome is however more rea listic and expressive. Locating her self -inscription in video art and experimental fil m and photograph y rather than in painting or art house film, the filmmaker offers herself in extreme close-ups that show her e ye falling towards the lower right corner of the frame, dramatising the proximity of the dea th. Despite the fact that memoirs and self-portraits are generally li nked with old age or the end of lifetime, it is worth st ressing again that Varda ‘s first cinematic experience with the DV camera is devoted at times to self- contemplation. 15 The camera user‘s guide will not say it but its technical 15 Varda observes two side s o f the mini DV camera: the report side (―I arrive when something is going on, I film it and a few minutes later on everything is over‖) and the ‗notebook‘ side: ―things that happen when I a m on my o wn, thoughts and urge of images Gleaning images from others … - 47 - specifications mi ght be easil y connected to the femi nine hand mirror: sma ll, light, manual, portabl e, easy- to -use, malleable and privatel y used (whic h here means above all autonom y and immediac y). These tiny cameras also have a more acute quality of pe rception thanks to technical functions suc h as enlargement –a shot in macro of Varda‘s hand in the car ends her self - portrait. Kiarostami does the same at the end o f 10 on Ten (2003), where an ant‘s nest in the skin of the earth is the object to think over the capacit y of perception and revelation of these cameras. Benjamin‘s thinking on film is still valid in the age of the clinical, sh arp textures of digital i mages: ―enlargement not merely clarifies what we see indistinctl y ‗in an y case‘, but brings to light entirely new structures of matter‖ (B enjamin 2002: 117). The hand filmed b y th e other hand holdin g the tiny camera is the leitmotif of the film. It is mos tly used when tra velling by c ar, first as a simple description of Varda‘s ageing hand, then closing her hand like an iris and ‗catching‘ truc ks they overtake in the motorwa y. 16 Anothe r striking variation happens when the heart-sh aped potato es appeals to the filmmaker and she im mediately films them in close up with one hand while collecting and putting them in her bag with the other hand. Here, Varda makes use of her great affinit y to pun and constructs a s yntagm to grant a ―m ythica l stat us to the humble pota to‖ (Rosello 2001: 32). For she brings them home in her bag a nd films them again while putting forward her particular protest related to personal, imm ediate impressions‖. For this r eason she would film on her o wn and would never ask for a cameraman to film her o wn hand. See ‗Le numérique e ntre immédiaté et solitude‘, Cahiers du Cinéma 5 59, p. 62. 16 Ernest Calle nbach says: ―These trucks are ever ywhere, h auling food and o ther goods to and fro at an immense e xpenditure of petro leum in t he modern industrial -agribiz mode. The trucks are i n fact a k ey ele ment of the hugely wasteful syste m to whic h gleaning i s a response, and like the rest o f the world, Europe is busily co nstructing n ew a nd vastly subsidized highways for the m‖ ( Callenbach 2003: 4 8). However, the reason given b y the filmmaker herself is q uite satisfactor y: ―On the road there are a lot o f tr ucks o f t he kind we love when we were kids. It‘s like a child‘ s ga me‖; ―I‘d like to cap ture the m [ trucks]. To retain t hings passi ng? No, just to p lay‖. It is a ret urn to child hood through an archet ypal game using one‘s hand as an iris mechanism that catc hes what we see through t he e ye. This playful way of fra ming an object is also a consequence of the mini -DV bec ause the le ft hand just duplicates what the (hand -size) camera d oes. Miguel A Lomillos - 48 - against waste by means of a metonymic transfer between the heart -shaped potatoes and the name of a French charit y meal pr ogram (ca lled ―les Restos du coeur‖): ― It dawned upon me the Good Heart Charit y Meals. Wh y not organise an expedition on the day the pot atoes are dumped? ‖ Varda h ad already taken a bla ck an d white picture of a heart -shaped potato in 1953, a year b efore her first photograph y ex hibition as she exclaims in The Beaches of Agnes ( Les Plages de Agnès, 2008). She liberates the he art-shaped potat o from capitalist contempt and turns it into an art object, decorative and natural at once, whose decaying skin is filmed in macro with the same attentiveness she gives to her ageing skin. 21 Half w ay through the f ilm Varda presents a nother self -referential digression about old age. This time the painting reference is Rembrandt and it comes after a personal remark about the ―gleaned souvenirs‖ brought from a trip to J apan. Back at home Varda examines the stains on the ceiling and makes a visual gag b y framing three fragments of the damp su rface with the same golden frame (using a simple digital effect) and adding to each a famous signature: Tapiès, Guo Xian g, Borderie. Then, she opens her suitcase, spil ls out on th e table postcards of Hokusai, Mount Fuji and su mo wrestling, some souve nirs and other bits and pieces, some J apanese catalogues on her photographs and films and, at last, some postcard s Gleaning images from others … - 49 - reproducing one of Rembrandt‘s numerous self -portraits, that of 1654, and also a painting of his wife Saskia, Saskia in a Red Hat 17 and covers them with her hand: ―This is amazing. In a department store in Tok yo, on the top floor, there were Rembrandt paintings, original Rembra ndts. Saskia u p close... and then m y hand up close, I mean, this i s my project: to film with one hand m y other hand. To enter into the horror of it. I find it extraordinary. I feel as if I am an animal, worse, I am an animal I don‘ t know. And here is Rembrandt‘s self -portrait but it is just the same in fact, always a self- portrait‖. Here, Varda in the circ ular exploration of her hand takes up again two intrinsic capac ities of the mini-DV camera working together: enlargement a nd self-portrait. Both are now r edefined as her personal project (―to film with one hand m y other hand‖) in order to confer an ―extraordinary‖ disclosure: the horrified f eeling of contemplating he r enlarged ageing skin and liver spot s like the features of bestialit y or monstrosity (― I am an animal I don‘t know‖). The ambiguities of the fir st self-portrait – the paronomastic verses about old age culminating the visual game of refusal – make wa y now to a plain descript ion of the shocking self - image: the terror of old age and mortality. However, this ‗disclosure‘ is not solely given b y the optic al or a esthetical capacities of the digital camera, it is also the result of the reference to an enormous artist framing an d sublimating the whole moment: Rem brandt. In fact, Varda constructs this sequence, and the p revious one, as a chain of aesthetical or metaphorical (‗gleaner of images‘, ‗so uvenirs gleaned‘, ‗artistic stains in the ceiling‘) and ―realistic‖ syntagms (back home from a trip to J apan; photogra phs of Varda, her son and daughter in the J apanese catalogues) in order to make plausible 17 Both paintings o f Re mbrandt (1606 - 166 9), the 1654 Self-portrait (72 x 5 8. 5 cm) and Saskia in a Red Hat, circa 1635 (also called Half-length F igure of Saskia in Rich Apparel, 99. 5 x 78. 5 cm) are in Gemäld egalerie Alte Me ister, Staatliche Musee n Ka ssel, Germany. There is a third painting i n t he ser ies o f card s which I have not b een ab le to id entify i n various co mpilations of Re mbrandt‘s works I have checked (Bredius, Bolten/Bolten Rempt, Schwartz); I conseq uently deduce it is probab ly a rejected work or attributed to follo wers. Miguel A Lomillos - 50 - the encounter be tween her hand and ‗Rembrandt‘. For this refe rence is unmistakable: his prodigious output of eighty-six self-portraits over the span of fort y years is unique in art histor y 18. Varda takes this model of self - portraiture as an object in miniature (post cards) t hat is at her hands in order to make a conjuring trick. The hand revealin g the horror of old age is the same hand that – by moving just one finger – is able to cover, reveal and recover Rembrandt‘s face. Rembrandt actually puts ‗face‘, howev er tiny, t o the detail of Varda ‘s hand – a study or sketch that, in painting, would be part of a much larger project. Thus, R embrandt acknowledges the spectator‘s ga z e before Varda curtains it off with her finger. In fa ct, it i s with this g ame that Varda winks at us to show that her set piece is not a banal gesture of s elf-portrait in digital im aging but something that may gai n more weight in contact with such a reference. 18 By the ti me Varda was filming Th e Gleaners and I, the first exhibition ever devoted to the D utch pai nter‘s se lf -portraits, Rembran dt by himself, was being held at t he Mauritshuis in T he Hague a nd afterwards at London‘s Natio nal Galler y (Januar y 200 0). T he exhibition displayed sixty- si x of these works i n paintings, etc hings and d rawings that co nstitute a ―so rt of visual diar y, a forty -year e xercise in sel f- examinatio n‖. Var da knowingly did not c hoo se one of Rembrandt‘s late self - portr aits ―as the y reveal this rigorous self -reflectio n m ost profoundly‖ but one o f him in his late forties. The association with old age would have been unmistakably obvious. Instead, Varda sought to stress Rembrandt as a reference of first order both in painti ng hi story and in self -portraiture. For all quotes in t his foot note, see Susan Fegley Osmo nd in the bibliograp hy. Gleaning images from others … - 51 - Varda‘s distinctive visual association (through montage) becomes here an optical association (within the same frame) which is at the sa me time effective and p roblematic. I hav e alread y s uggested that Remb randt‘s self-portrait functions as a way to aestheticise the self-exploration in macro – but this artistic reference also impli es the connotation that the cinematic exploration, which is the core of Varda‘s project, is insufficient in itself. 19 The connection between Rembrandt‘s postcards and the filmm aker‘s hand does not produce a n ew sign, a new structure of meaning; it is nothing but a literal (optical) identificati on of self-portraiture in both cinema and painting (in re(pro)duced scale). Hence Varda‘s just ificative attitude: ―it is the same in fact, always a self - portrait‖. The same procedure operates at the precise moment Varda jumps from Rembrandt‘s postcards – in this case the detail of Saskia‘s sump tuous necklace– to h er h and: ―Saskia up close (―Saskia e n detaille‖) and then m y hand up close‖. Varda emplo ys the expressive, mysterious tone of a storyteller so as to emphasize the supreme reference: taking postcards out of an envelope is ―amazing‖ (―Alors, c ‘est ça qui e st formidable‖) and the postcards reproductions are called ―o riginal Rembrandts‖ (―vrai Rembrandts‖). This is a rhetorical w a y to call attention to the artistic reference since Varda shows obviously postcards (some o f them even repeated twice) and this acknowledges its specific reproducibility. However, Varda delibe ratel y avoids sa y ing ‗postcards‘ and 19 T he macro explo ration of Varda‘s ha nd is in itself as cin ematically revealing as t he ant‘s nest in Kiar ostami‘s 10 on Ten. However, i t is worth to ackno wledge that Var da‘s hand playing w ith Rem brandt‘s self -portr ait has t wo other im plications. Firstly, the pictorial refe rence is at the same ti me the ‗diegetic prete xt‘ for Varda‘s second self -portrait and th e uninhibited, p roud aspiratio n of b eing part of an artistic genre rooted on the Renaissance. Since visual self -portrait in photograp hy, film or video -art is unavoidab ly indebted to painting, the trad itional locu s for ―a highly narciss istic genre, dee ply linked to self - promotion and the presentatio n of the way in which the artist p ositions himself o r herself i n society‖ (Ruscarolo 200 9: 181), it is clear that Varda‘s cla im for posterity is mor e inviting by co mparison with ‗Re mbrandt‘. Seco ndly, Varda ‘s proj ect (―to film with one hand my other hand‖) relates handicr aft aesthetics (Rembrandt ‘s re ference intensifies the o ld manual work practise s and t he ar tistic p henomenolog y o f the hands, a part of the b ody th at permeates the whole of The Glea ners and I) to digital aest hetics. Her per sonal projec t keeps in tune with cinema‘s co ntemporar y exploration of the relation bet ween body and machine. Miguel A Lomillos - 52 - the first person of the eluded action, I bought: ―there were Rembrandts, true Rembrandts... in the top floor of a department store in Tokyo‖. Her aesthetical metaphor of gleaning dis guises here a crucial difference: un like the strong experience of gleaners proposing different alternatives to consumerism, Varda‘s ―gleaned souvenirs‖ have been purchased. I n this case the metaphor of gleaning is to c onsumption and commodit y as the ‗auratic‘ reference to Rembrandt is to his technologically reproduced postcards. These objects are not here to quest ion socia l, mate rialist or capitalist forces nor even to relate or r eveal a pe rsonal experience but rather, to aesthetically cond ense Varda‘s subjectivity (which is mostly ‗artistic‘). If the objects that ―sum up a trip to Japan‖ infer a devalued ex perience, the main object ‗selected‘ from the cluster of stereot yped souvenirs hastil y extended over the table, the postcards, expresses even more clearly the banal and globalized gesture of that experience. Deprived of the value of personal experience or memory, Varda‘s objects, like the return of the repressed, betray their inscription in the realm of consumption and above all her disposition d‘esprit. For her ―images, impressions, emotion s‖ do not rest obviously on the objects brought from Japan but i n her inner intimations of old age. Rembrandt takes the supporting role: his operational range does n ot function as a potential a esthetic ex perience, but as a ‗bodil y‘ reference that is ocular ly ‗caught‘ with the same visual plea sure than the trucks. B. Benoliel sa ys that Varda films her hand not as hers but as the hand of others (―comme un autre ‖) and such alterit y is somehow confirmed in her shockin g self- image (― Je suis une bête qu e je ne connais pas ‖). Like many others critics, he also sees in that hand traces of her late husban d Jacques Dem y‘s hand – the hand of the one she misses. Dem y died of AID S while Varda was shooting Jacquot of Nantes, a fictional account of his teenage years. The film ends with enlarged detai led shots of his skin, eyes, white hair, hands and other parts of his body consumed by the disease. Varda‘s underl y ing r elation to Dem y (even though she was unaware of it as Gleaning images from others … - 53 - she says in the poign ant closure of Two Y ears After) is also suggested b y her ring in the left hand and by Rembrandt and his wife Sa skia. Varda‘s autobiographical project, ―to film with one hand m y other hand‖, seems to be an auterist option on how to use, in a personal way, digital cameras: the right hand ―w riting‖ with the mini -DV camera (―cinécriture‖) 20 the left hand: a thespian hand that is both an enlarged detail of organic matter and also acting out. Since each hand ‗knows‘ perfectly what the othe r does (they work together in a well-developed plan behind and in front of the cam era), this project seems to be an invitation to infuse strategies of fiction and self- portrait (let‘s say subjectivity) into documentary filming (to some extent, the uncontrollable and fortuitous events that happen to oth ers). Th e Gleaners and I accomplishes this project of interposing subjectivity with alterit y, so cial issues with pe rsonal subjects through an inspired, playful process of figuration: perfor mance, tableau - vivant, poetical metaphors, visual associations and aesthetical representations. Varda‘s ‗subjective documentary‘ on the new social practices of gleaning indicates the expansion of a self-assumed visibility and 20 Var da‘s description of her ‗cine matic writing‘: ―En écriture c‘est le st yle. Au ci nema, c‘est le cinécriture‖ (Var da 1994: 14). Miguel A Lomillos - 54 - (re)presentation of the fil mmaker‘s self and her personal worldvie w – as Rascaroli sa y s, unorthodox, personal, reflexive ‗new essay films‘ ―point to their extra- textual authors as the true source of the act of communication‖ (Rascaroli, 2009: 7). If the overtl y first-person voice-over was the response to the omnipotent third-person voice-over in documentar y film; if the admission of the partial, contingent, personal viewpoint was the reaction to the declining persuasiveness of objectivit y and authority, the increasingl y inclusion of the filmmaker‘s presence and his/her personal world com es a s an unsurprised outcome in the digital postmodern age. It has never been ‗easier‘ in all documentary forms to sa y ‗I‘ with a ll its consequences. Indeed, this is the move from an instituti onalised convention to a person al hybridisation of genres; in Varda‘ s case the social documentary i s intertwined with a utobiographical fo rms such a s self-portrait, travelogue, diary and notebook. The fact of including the personal sphere of the director in documentary – which is a mode of representation conventionally not reserved to him but to other social actors – is not itself a problem (in ethical nor even in aesthetical terms) but in an y case, the issue lies in how and to what extent this process is done or mediated – each film poses its own ethical and aesthetical dilemmas and for that r eason it is problematic or eve n inappropriate to generalise models of ethics in d ocumentary filming. If t he ―central question for documentary ethics, as Brian Winston arises, is how much mediation is ethical‖ (Winston: 181), Varda‘s film p rovides an apt response to thi s question. The measure of this ethical mediation is always acknowledged b y Varda‘s formal sense o f restriction: b y sta y ing off -screen in her relation to social actors, reflexivel y performing in tabl eau vivant h er first inclusion, 21 showing quick, fragmented shot s of her bod y when her presence comes onscreen and ultimately being extremel y conscious of the 21 As I s uggested at the beginning of t his article, t he playful aest heticisation of the self is not only a way Varda talks about herself but a way to ask permission (to herself, to gleaners, to the audience) to be fully part of a social documentar y. Gleaning images from others … - 55 - interplay between her self-representation and the representation of others. The filmmaker‘s self is indeed a relational self who relates a multifaceted variety of characters, places, artistic manifestations and phenomena under the all- embracing metap hor of gleaning. Laplanche‘s dictum about how one is constituted through th e int ersubjective relation to the other person surel y co incides with Varda‘s approach. Cooper also finds that Varda‘s attit ude to alterity involves a privileging of the others over the self (Cooper 2006: 89) as the film ―turns an inwardly directed gaze outwards [in order] to question the self-reflective status of the autobiographical mode and to film others using the mirror of the self, while preserving a Levinasian asymmetrical relation betw een the two‖ (Cooper 2010: 61). Even i f one considers documentary in an orthodox way, the dilemma of including the self in documentary is here surmount ed b y a st ylised process of poetic metaphors i. aesthetics transcends possible ethical li mitations im posed on the self. For the aestheticisation is operated to the self (filmmaker-gleaner), not to the others (gleaners). The self, invested as a filmmaker glaneuse, is allowed to have a space of digression or solo interludes where she can perform h er two unique, restricted topics: old age and artistic fascination. And both topics are primarily universal, reunited in Rosello‘s opp ortune description of the film: ―(self -)Portrait of the Artist as an Old Lady‖. In short, t he stylization of the sel f is at the same time an ‗ethi cal‘ d eference to the social actors (her performative self does not tr y to prevail over the others, i. I do not want to be the protagonist... ) and an ‗aesthetical‘ elevation, a posi tive differentiation from ot hers (.. at the end I know that I am the protagonist). Since g leaning is in fact an obsolete social practise, the all - inclusive Vardian metaphor of gleaning with strong historical, artistic, and critical repercussions is undoubtedly on e of the most powerful a uterist worldview in contemporary documentary and also in cinema tout court. The only drawbacks in Varda‘s well - elaborated poetic and subjective documentary ar e the followings: a) the aestheticisation of the self is Miguel A Lomillos - 56 - problematic in the second self-portrait: this is the result of a long aesthetical circumlocution that suggests certain difficulties to shift between the social subject and the person al one and also implies an impoverishment of personal experience; b) a self-justificative tendency to sentimentalism and class guilt in relation to the gleaners living on leftovers – as T yrer sa ys Varda ―repeats like a mantra ‗I never fo rget‘ the people who glea n to survive‖ (T yrer 2009: 169). The former implies that the self -assumed ‗restriction‘ to talk about personal experiences cannot alwa y s be surpassed by the stylisation of the self. Varda‘s return from a trip to Japan, a sort of diarist gesture which ann otates her only experience outside filming, old age and paintin gs, is partly a n arrative f ailure because the heavil y self - justificative st ylisation (fear to be too subjective in a social documentar y? ) suffocates somehow the singular ity of the self. The latte r does not let the poetic metaphor of gleaning retain its essential breadth and ambiguit y (in fact, when V arda r eviews The Gleaners and I in The Beaches of Agnès sh e continues moralising about the subject: ―To s ee so much waste, while others are going hung ry it‘s deplorable‖). It is not surprising that from The Gleaners and I on, Varda‘s visio n and practice on digital media increasingl y involve s her subjectivit y, her life and her personal memories: Two years lat er, the video installations Patatutopia (2002), T he wives of Nourmoutier ( Les Veuves de Nourmoutie r, 2005) and The Island and She ( L‘île et elle, 2006) and above all her last film so fa r The beaches of Agnès, an autobiographica l film-testament. Varda continues fostering her digital project as a mirror image; he r pla yful st yle of representation and performance hav e been much more developed in The beaches of Agn ès using different media and arte facts such as installation, exhibition, re-enactment, homage, psychodrama, split-screen, animation. However, since Varda has acknowledged The beaches of Agnès as h er la st film, her project of creativel y mix ing the self with social issues exposed in The Gleaners and I will not go forward a s a new form of social Gleaning images from others … - 57 - documentary and remains an isolated moment in which the female filmmaker, using the mi ni -DV camera for th e first time, comes to apprehend the fears of her a geing bod y by conceding a o ne- off ―self -portrait of the artist as an old lady‖. Bibliographic References AUFDERHEIDE, Patricia (undated), Public Intimacy: The Developm ent of First-person Documentary, In: /readings/ Accessed 14 Marc h 2010. BENJAMIN, Walter (2002), ‗The Work o f Art in the A ge of Its Technological Reproduc ibility‘ in H. Eiland and M. W. J ennings (eds. ), Selected Writings: Volume 3, 1935-193 8. Translated b y E. Jephcott and H. Zorn. Cambridge, Mass. : Harvard University Press, pp. 101-33. BENOLIEL, Bernard (2001), ‗ La main de l‘autre‘, In: Cahiers du C inéma, 548, pp. 62-63. BOLTEN, Jaap and B OLTEN-REMPT, Hen riette (1977), Rembrandt, Verona: Book Club Associates. CALLENBACH, Ernest (2003), ‗The Gle aners and I (Les Glaneurs et la Glaneuse)‘, In: Film Quaterly, 56: 2, pp. 46-9. COOPER, Sarah (2006), Selfless Cinema? Ethics and French Documentary, Oxford: Legenda. COOPER, Sarah (2010), ‗L ooking back, looking onwards: selflessness, ethics, and French docu mentary‘, In: Studies in French Cinema, 10:1, pp. 57-68. LAPLANCHE, J ean (1999), Essays on Otherness, L ondon / N ew York: Routledge. Miguel A Lomillos - 58 - OSMOND, Susan Fegley (2000), Rembrandt‘s Self -Portraits, mbrandt/ Accessed 6 April 2010. RASCAROLI, Laura (2009), The Personal Camera. Subjective Cinema and the Essay Film, London / New York: Wallflower Press. ROSELLO, Mir eill e (2001), ‗ Agnès Varda‘s Les Glaneurs et la glaneuse. Portrait of the Artist as an Old Lad y‘, In: Studies in French Cinema 1: 1, pp. 29-36. RUSSELL, Catherine (1999), Experimental Ethnography: The Work of Film in the Age of Video, Durham, NC and London: Duke University Press. VARDA, Agnès (1994), Varda par Agnès, Paris: Cahiers du cinéma. VARDA Agnès (2001), ‗Le numérique entre immédiaté et soli tude‘, a round-table conference between filmmakers and critics, In: C ahiers du Cinéma, 559, pp. 62-5. TYRER, Ben ( 2009), ‗Digression and return: Aesthetics and politics in Agnès Varda‘s Les Gla neurs et la glaneus e (2 000)‘, In: Studies in French Cinema, 9:2, pp. 161-176. WILSON, J ake (2002), ―Trash and Treasure: The Gleaner and I ‖,. Accessed 24 April 2010. WINSTON, Brian (2005), ‗Ethics‘, In: A. Rosenthal and J. Corner (eds. ), New Challenges for Docume ntary, Manchester: University of Manchester Press, pp. 181-193. Filmography (features) Uncle Yanco (1967), Agnès Varda Daguerreotypes (1974-75), Agnès Varda Ulysse (1982), Agnès Varda Gleaning images from others … - 59 - Sans toit ni loi / Vagabond (1985), Agnès Varda Jane B. par Agnès V. (1987), Agnès Varda Jacquot de Nantes (1990), Agnès Varda Boca do lixo (1992), Eduardo Coutinho Les Demoiselles ont eu 25 ans (1993), Agnès Varda L‘univers de Jacques Demy (1993-95), Agnès Varda Les Glaneurs et la Glaneuse/The Gleaners and I (2000), Agnès Varda Deux ans après/Two Years After (2002), Agnès Varda 10 on Ten, (2003), Abbas Kiarostami Les p lages d‘Agnès/The Beaches of Agnès (2008), Agnès Varda Waste Land (2010), Lucy Walker ResearchGate has not been able to resolve any citations for this publication. Rembrandt's Self-Portraits OSMOND, Susan Fegley (2000), Rembrandt's Self-Portraits,. Accessed 6 April 2010. ‗La main de l'autre', In: Cahiers du Cinéma BENOLIEL, Bernard (2001), ‗La main de l'autre', In: Cahiers du Cinéma, 548, pp. ‗Digression and return: Aesthetics and politics in Agnès Varda's Les Glaneurs et la glaneuse TYRER, Ben (2009), ‗Digression and return: Aesthetics and politics in Agnès Varda's Les Glaneurs et la glaneuse (2000)', In: Studies in French Cinema, 9:2, pp. Agnès Varda Jacquot de Agnès Varda Les Glaneurs et la Glaneuse/The Gleaners and I ( Jane B. (1987), Agnès Varda Jacquot de Nantes (1990), Agnès Varda Boca do lixo (1992), Eduardo Coutinho Les Demoiselles ont eu 25 ans (1993), Agnès Varda L'univers de Jacques Demy (1993-95), Agnès Varda Les Glaneurs et la Glaneuse/The Gleaners and I (2000), Agnès Varda Deux ans après/Two Years After (2002), Agnès Varda 10 on Ten, (2003), Abbas Kiarostami Les plages d'Agnès/The Beaches of Agnès (2008), Agnès Varda Waste Land (2010), Lucy Walker ‗Agnès Varda's Les Glaneurs et la glaneuse. Portrait of the Artist as an Old Lady ROSELLO, Mireille (2001), ‗Agnès Varda's Les Glaneurs et la glaneuse. Portrait of the Artist as an Old Lady', In: Studies in French Cinema 1: 1, pp. ‗Le numérique entre immédiaté et solitude', a round-table conference between filmmakers and critics, In: Cahiers du Cinéma VARDA Agnès (2001), ‗Le numérique entre immédiaté et solitude', a round-table conference between filmmakers and critics, In: Cahiers du Cinéma, 559, pp. Discover the world's research Join ResearchGate to find the people and research you need to help your work.
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Free movie chinese portrait series. 25 wins & 31 nominations. See more awards » Edit Storyline The film revolves around Park Hee-bong, a man in his late 60s. He runs a small snack bar on the banks of the Han River and lives with his two sons, one daughter, and one granddaughter. The Parks seem to lead a quite ordinary and peaceful life, but maybe they are a bit poorer than the average Seoulite. Hee-bong's elder son Gang-du is an immature and incompetent man in his 40s, whose wife left home long ago. Nam-il is the youngest son, an unemployed grumbler, and daughter Nam-joo is an archery medalist and member of the national team. One day, an unidentified monster suddenly appears from the depths of the Han River and spreads panic and death, and Gang-du's daughter Hyun-seo is carried off by the monster and disappears. All of the family members are in a great agony because they lost someone very dear to them. But when they find out she is still alive, they resolve to save her. Written by Plot Summary | Plot Synopsis Taglines: Du är vad den äter. [You are what it eats] Swedish DVD release See more » Details Release Date: 30 March 2007 (USA) Box Office Budget: KRW12, 215, 500, 000 (estimated) Opening Weekend USA: $320, 000, 11 March 2007 Cumulative Worldwide Gross: $89, 433, 436 See more on IMDbPro » Company Credits Technical Specs Runtime: 120 min 110 min (DVD) See full technical specs » Did You Know? Trivia Co-Writer and Director Bong Joon Ho and the designer of the creature nicknamed it Steve Buscemi, based on the actor's screen persona and the way he acted in Fargo (1996). See more » Goofs The sewage they are searching the monster in, is dry and clean. See more » Quotes Park Hie-bong: In a word... her birth was an accident, and so was her death. Old people have always said... that an animal which kills a human... should be torn limb from limb. That it's a human's duty to do so. Until I slit that beast's stomach... and at least find Hyun-seo's body... I'll never leave this world in peace. See more » Crazy Credits Just before the credits ends, you can hear a loud roar of the monster. See more ».
Coisa mais linda. Que coisa linda ver Benito Di Paula sendo realmente valorizado. Parabéns a Zeca Pagodinho e CIA pela nobreza do gesto. (Portrait of Teresa) Cuba, 1979 Director: Pastor Vega Production: Instituto Cubano del Arte e Industria Cinematográficos (ICAIC); color, 35mm. Released 1979. Filmed in Cuba. Screenplay: Ambrosio Fornet. Cast: Adolfo Llauradó ( Ramón); Daisy Granados ( Teresa). Books: Chanan, Michael, The Cuban Image, London, 1985. Burton, Julianne, editor, Cinema and Social Change in Latin America: Conversations with Filmmakers, Austin, Texas, 1986. Articles: Ranvaud, Don, "Pastor Vega: An Interview, " in Framework (London), Spring 1979. Moskowitz, G., in Variety (New York), 5 September 1979. Segers, F., in (New York), 7 November 1979. Peyton, P., and C. Broullon, " Portrait of Teresa: An Interview with Pastor Vega and Daisy Granados, " in Cineaste (New York), no. 1, 1979–80. Randall, M., " Portrait of Teresa: A Letter from Havana, " in Gonzalea Acosta, A., "Con Teresa, punto y seguido..., " in Cine Cubano (Havana), no. 97, 1980. Rich, B., " Portrait of Teresa: Double Day, Double Standard, " in Jump Cut (Chicago), May 1980. Allen, Tom, in Film Comment (New York), vol. 17, May-June 1981. Coleman, John, " Portrait of Teresa, " in New Statesman, vol. 101, 5 June 1981. Prieto, L., " Retrato de Teresa: De la realidad a la ficcion, " in (Havana), no. 98, 1981. Burton, Julianne, in Film Quarterly (Berkeley), Spring 1981. Imeson, J., in Monthly Film Bulletin (London), August 1981. Ahlander, R. Centenari, interview with Daisy Granados, in Chaplin (Stockholm), vol. 24, no. 5, 1982. Retrato de Teresa Interview with Pastor Vega, in Casablanca (Madrid), October 1982. Film Library Quarterly (New York), vol. 16, no. 4, 1983. Gonzalez, J. A., "Retrato de Daisy Granados, " in Cine Cubano (Havana), no. 104, 1983. (Havana), no. 198, 1984. * * * The most polemical film in the history of Cuban cinema, Portrait of Teresa was seen by 500, 000 spectators in less than two months and has been the focus of more than two dozen articles and the subject of innumerable marital discussions on the island. The reason for such controversy lies not in the form utilized by the film (it resembles an undistinguished "made-for-TV" movie), but in its content: a critique of machismo and its double standard for men and women. Ramón objects to Teresa's growing involvement in her work and politico-cultural activities, accusing her of neglecting her household duties. Despite the fact that they both work full-time, Teresa has to labour the familiar "double-day" of women, doing the domestic chores before and after her shift in a textile factory. Her attempts to incorporate herself into some of the cultural activities offered by the revolution are met by Ramón's increasingly intransigent defense of his male privileges, and they separate. The film is a criticism to the "Law of the Funnel" ("Ley del embudo"), under which a different set of rules apply for men than for women. Impelled by its female integrants, the Cuban revolution has made great efforts to overcome the traditional subservience of women, insisting on a coherence of theory and practice and the integration of political principles into daily life. In the film's pivotal scene, Teresa confronts Ramón's assertion that he has changed (and thus wants her to return to him) by asking him how he would feel if she had had a relationship with someone else, as he did. His answer, "It's not the same, " confirms her suspicion that he continues to maintain a double standard, and determines her decision to remain separated from him. The leading actors spent much time and effort familiarizing themselves with the lives of the workers they were to represent, and were caught up in the controversy that swept Cuba after the release of the film. Daisy Granados (Teresa) saw it as an issue of the Cuban revolution: "I think that we women still make too many concessions to men. However, Teresa is no feminist symbol, but the conclusive proof that a new type of human being is arising among us. The revolution needs Teresa, because she is a symbol to all of us who believe that the revolution is a constant and permanent advance toward a superior and more complex person. " Adolfo Llauradó (Ramón) saw it somewhat differently: "I've grown, and I think that intellectually I'm totally in agreement with women's equality. I understand Teresa's necessities and aspirations, but when they clash with patterns and customs established throughout millenniums, I can't deny that, like Ramón, it disturbs me. " The Cuban revolution has consistently struggled against and its repressive patters, among other things, by explicitly legislating against a double sexual morality and by requiring men to share in the housework. However, the profundity of male-dominance is perhaps nowhere expressed more ironically than in the fact that, although both the director and scriptwriter see themselves as battling against "paternalism, " no women were included at decision-making levels in the film. is a useful film, though hardly a radical one. The fact that it provoked such controversy in Cuba is indicative of how far we all have to go.
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