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This is an old revision of this page, as edited by Cbamber (talk | contribs) at 19:05, 1 March 2018 (→Plans to edit entry). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

CLEO PAR 5 A 7

COMMENT E CORINNE MARCHARND —Preceding unsigned comment added by 82.79.10.58 (talk) 12:08, 2 October 2009 (UTC)[reply]

According to Varda in comments she made at an appearance at the University of Chicago 11 Oct 2015, which I attended, "Cleo from 5 to 7" _is_ diegetic, even though the time period covered in the film is only 90 minutes. The title refers to an expression utilizing the timeframe of '5 to 7' found in French vernacular which references the time spent, once a week typically, consummating a tryst between illicit lovers, which she adapted for use in this film. The actual time elapsed in the film is 5 to 6:30. — Preceding unsigned comment added by 2602:30A:2EA0:AB50:211:24FF:FECF:C494 (talk) 02:19, 17 October 2015 (UTC)[reply]

Plans to edit article

In the coming weeks, I am planning to do a moderately extensive edit of this article for an academic project. I plan to restructure the "Life and career" section (with an Early life, Personal life, and Professional life section). I also want to add a Style section that discusses her documentarian, experimental style. Varda is known for coining the term "cinecriture," and has used the term to define her style. I want to define and describe cinecriture. I will attempt to find further information about her other artwork (photography, sculptures, exhibitions, etc.) that I will add to her Professional life section. Frankiefillis (talk) 02:57, 18 October 2014 (UTC)[reply]

Q: is cinecriture a concept/word unique to Varda, or is it used by other notable filmmakers? If it's the latter you might want to create an article about cinecriture and stick the bulk of the definition and expository work in there. Beyond that, I say go for it! Just remember to cite the additions whenever possible. Tabercil (talk) 12:52, 18 October 2014 (UTC)[reply]

Your edits seem very thorough and the article is a lot more complete. It is nice that all of her film and work credentials are listed. It is unfortunate that there is not a lot of more biographical information, but I am sure there is a lack of academic resources about Varda's life. But the article looks very clean and concise. All the writing is objective and well written! Good edits!Jengoldberg315 (talk) 21:16, 26 November 2014 (UTC)[reply]

I believe that the edits that were made were very necessary and greatly contributed to the article. Though i am sure it was difficult to gather information on Varda I believe that you were able to find important information and made valuable changes to the flow and general read of the article. Breaking up the sections of her life helped organic the background information on Varda. Prior to edits it was only "life and Career" -- now there is a much more thorough explanation for her life and background. Your additions making up the bulk of the 'style' section are essential to the article. Without the style section there is a major lack of understanding of what makes her work unique. SFerbank (talk) 17:30, 1 December 2014 (UTC)[reply]

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Plans to edit entry

In the upcoming couple of months, I am planning to do a substantial edit of this article for an academic project.

First and foremost, there are several spelling and grammatical issues in the text that I would like to fix.

Moreover, the article could benefit from more detailed information on the French New Wave, particularly regarding the Left Bank Cinema group. As it stands, there is only a three-sentence section on Varda’s interactions with the movement. I hope to include more on how Varda fits in and inspired many aspects of the trend.

The article could also use an expansion of the discussion of Varda as a feminist filmmaker. The two sentences under the section of “Style” do not encompass all that she did within the topic. Somewhat related, I am also interested in expanding the personal life section, especially the discussion of her contribution to the Manifesto of the 343.

In addition, I want to expand the coverage of Varda’s 2017 Academy Honorary Award. It currently exists as a mere bullet point, and I’d like to add more detail.

Lastly, the article lists a few of Varda’s publications without any descriptions, so I’d like to fill in that missing information.

These are the sources I have found thus far for my project: 1. Bénézet, Delphine. The Cinema of Agnès Varda: Resistance and Eclecticism. New York: Columbia University Press, 2014.

2. Bonner, Virginia Ann. Cinematic Caesuras: Experimental Documentary and the Politics of Form in Left Bank Films by Resnais, Marker, Varda. Atlanta, GA: Thesis, Ph.D., Emory University, 2003.

3. Darke, Chris. “Agnes Varda.” Sight & Sound, vol. 25, no. 4, April 2015, pp. 46-50. Film & Television Literature Index with Full Text, EBSCOhost (accessed February 2018).

4. Mouton, Janice. “From Feminine Masquerade to Flâneuse: Agnès Varda's Cléo in the City.” Cinema Journal 40, no. 2 (Winter 2001): 3. Film & Television Literature Index with Full Text, EBSCOhost (accessed February 2018).

5. Talton, Jana Meredyth. “Agnes Varda: Ahead of the avant-garde.” Ms 3, no. 6 (May 1993): 78. Film & Television Literature Index with Full Text, EBSCOhost (accessed February 2018).


— Preceding unsigned comment added by Cbamber (talk • contribs) 19:01, 1 March 2018 (UTC)[reply]

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