The purpose of the article is to analyze, on the theories that guide the concept of expanded cinema, the two autobiographical works “Varda by Agnès” (2019) and “The Beaches of Agnès” (2008). While “Varda by Agnés” is based on a conference by Varda to reflect about creation process movies, “The beaches of Agnés” deals with the same object, but with an essayistic approach. In both works, the filmmaker of franco-belgian origin leaves traces that can be described and analyzed, and suggest clues in which we can reflect on the process and meaning of the her work, through the prism of convergency thinking. In this way, we intend to reflect on the meaning of the three fundamental words mentioned by Varda at the beginning of the film “Varda Por Agnés”: inspiring, creating and sharing. Therefore, “inspiring”, reading image references, the concept of “creating”, analyzing the creative processes, and how these art installations by Agnès Varda dialogue with his films – essays, and the meaning of “sharing”, observing how the process of displacing Agnès Varda’s works takes place from the conventional exhibition hall to art installations, and report the ways in which the artist shares experiences with viewers and displays them in different dispositives and spaces. This work’s proposal is also understand how the artist articulates representations, narratives and as they overflow to spaces other than those traditional exhibition halls and how other forms of art and media converge in the works of Agnès Varda, especially painting and photography. For this I will use the methodology proposed by Cecilia Sales (1998), analyzing the artist’s creation process, and traces left in testimonials granted in his autobiographical movies.
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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