From her very first feature films, Agnès Varda treated the sound component and, in particular, the voice, as an element endowed with its own “corporality” and autonomy, pushing it toward a different expressive goals but always using it to deconstruct the mimetic illusion. This interest in the voice evolved in a decisive way with Daguerréotypes (1976), in which the director introduced a voice over commentary, acted by herself, inaugurating a “first person” cinema, both from visual and acoustic point of view, that would characterise the entire last phase of her production (2000-2019).
Les voix d’Agnès
luca malavasi
2022-01-01
Abstract
From her very first feature films, Agnès Varda treated the sound component and, in particular, the voice, as an element endowed with its own “corporality” and autonomy, pushing it toward a different expressive goals but always using it to deconstruct the mimetic illusion. This interest in the voice evolved in a decisive way with Daguerréotypes (1976), in which the director introduced a voice over commentary, acted by herself, inaugurating a “first person” cinema, both from visual and acoustic point of view, that would characterise the entire last phase of her production (2000-2019).
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