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Audiobooks & Video Training Daguerréotypes (1975)

Posted on 2010-08-03




Name:Audiobooks & Video Training Daguerréotypes (1975)
ASIN/ISBN:0801864585
Language:Spanish & English (.srt)
File size:652 Mb
Language: French
File Size: 652 Mb
Other Info: DVDRip; Subtitles: Spanish & English (.srt); XviD 512x388 (4:3); 65 min; 25.0 fps; 128 kbps
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Daguerréotypes (1975)

Genre: Documentary / Essay Film | RS.com

A "magical" documentary on the small shopkeepers of the rue Daguerre in Paris, where the film-maker lived.

Documental sobre los pequeños comerciantes de la calle Daguerre de París, donde vivía la directora.

1975, Agnès Varda filme la rue Daguerre, à Paris, dans le 14e arrondissement. Elle filme les commerçants, le boucher, la boulangère, l’épicier ou le coiffeur. Elle filme ses voisins. Elle transcende la vie paisible du Français moyen. Elle regarde ce que l’on voit tous les jours. Elle fait d’un documentaire, un hommage.

Agnès Varda (1928) is a filmmaker, photographer, journalist and active member of the French feminist movement. In 1954 she made her first feature film. La pointe courte combines documentary and feature film elements and is generally considered one of the precursors of the nouvelle vague. In her work she has always been torn between fiction and documentary film. She prefers to place her films in the context of the time when they were made. Daguerréotypes was shot in the Rue Daguerre in Paris, where Varda lived at the time. The film is a 'socio-archaeological' document about the local shopkeepers. Varda calls daguerréotypes "a neighbourhood album."

& 8220;Whether she appears on the screen as she does in Gleaners, marveling at the age spots on her hands or pulls gently on the strings from behind the curtain, Varda is always there, posing questions and proposing answers. The questions are clearly more important to her than the answers, which is why her documentaries generally get filed under the heading Essay Film, alongside Chris Marker's. But the categories are always blurring in Varda's work: The documentaries are essay-like, the features are documentary-like.

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& 8221;


& 8220;Lo importante para un documentalista, es lograr colocarse en segundo plano. Una vez que nos hemos pronunciado, que le hemos dicho a la gente: "Yo voy a iluminar, voy a estar aquí, pero luego olvídense de mí." Cuando logramos que nos olviden, entonces tenemos talento. Son ellos los que deben estar en primer plano, no yo. Debemos decirles: "Comenzamos allí donde la televisión termina. Estamos con ustedes. Acepten por favor que lo filmemos todo, y no sólo lo que les parece importante."

El trabajo de un documentalista no es sólo técnica y competencia cinematográfica. Tiene que ver también con un acercarse a los otros, con escuchar, y naturalmente, con la tarea de traerlos al habla, pero en una situación en la que se sientan cómodos.

En el 'Chardon Bleu' filmé a una anciana señora, un ser verdaderamente inolvidable, extraordinario. En una entrevista dije sobre ella una vez: Es una estrella. Es Marilyn. ¡Tiene un rostro inolvidable! Tras ver el film, hubo gente que llegó a darme un billete de 50 francos para que le comprara flores. ¡Y era un documental! Esa mujer se convirtió en una presencia tan fuerte para ellos, que comenzaron a amarla.

Agnès Varda, Varda par Agnès
& 8221;


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