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Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the -Mother of the New Wave- but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the...

Over nearly sixty years, Agnes Varda (b. 1928) has given interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the "Mother of the New Wave" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. In a low-budget film, using (as yet) unknown actors and working entirely outside the...

Cinema has always been -literary- in its desire to tell stories and in its need to borrow plots and narrative techniques from novels. But the French New Wave directors of the 1950s self-consciously rejected the idea that film was a mere extension of literature. With subversive techniques that exploded traditional methods of film narrative, they embraced fragmentation and alienation. Their cinema would be literature's rival, not its apprentice. In Screening the Text, T. Jefferson Kline argues that the New Wave's rebellious stance is far more complex and problematic than critics have...

• Looks at the differences between French and American national cinema
• Explores how French directors shape their films around two potentially divergent goals: the narration of a story and an elaboration of some theory about film itself.
• Demystifies the -difficulty- of French cinema, allowing the American movie-goer to enjoy films that are too often perplexing at a first viewing.
• Offers extended analyses...

Bertrand Tavernier (b. 1941) is widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s, in the wake of the New Wave. In just over forty years, he has directed twenty-two feature films in an eclectic range of genres, from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature--L'Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize--Tavernier has shown himself to be a public intellectual. Like his films, he is deeply engaged with the pressing issues facing...

• Presents a compendium of original essays offering invaluable insights into the life and works of one of the most important and influential filmmakers in the history of cinema
• Features contributions from an international cast of major film theorists and critics
• Provides readers with both an...