<abstract xmlns="http://www.w3.org/1999/xhtml"><p> When, through highly atypical financial and creative means, French filmmaker Agnès Varda’s first feature film The Pointe Courte (La Pointe courte, 1954) first appeared on cinema screens, a fragment of contemporary commentators thought it hampered by “defects,” “blunders,” and “follies.” Its perceived infirmity compounded further by a “rather irritating intellectual dryness,” implying contact with the film may cause itching. A more material, rather than intellectual engagement with the film, then, may offer a means to overcome such reservations; a piste this article pursues. In doing so, I draw on the thought of contemporary French thinker Jean-Luc Nancy and his proposition that all images are flowers and the mobilised look such thinking engenders which oscillates between an optical gaze and a haptic graze. A look mobilized thanks to the contact it makes with wood’s textured, internal ornament and which undoes the material myopia by which the film’s existing critical landscape has itself been hampered. </p></abstract>

When, through highly atypical financial and creative means, French filmmaker Agnès Varda’s first feature film The Pointe Courte (La Pointe courte, 1954) first appeared on cinema screens, a fragment of contemporary commentators thought it hampered by “defects,” “blunders,” and “follies.” Its perceived infirmity compounded further by a “rather irritating intellectual dryness,” implying contact with the film may cause itching. A more material, rather than intellectual engagement with the film, then, may offer a means to overcome such reservations; a piste this article pursues. In doing so, I draw on the thought of contemporary French thinker Jean-Luc Nancy and his proposition that all images are flowers and the mobilised look such thinking engenders which oscillates between an optical gaze and a haptic graze. A look mobilized thanks to the contact it makes with wood’s textured, internal ornament and which undoes the material myopia by which the film’s existing critical landscape has itself been hampered.

Avoid Contact with the Eyes and Skin, May Cause Irritation: Agnès Varda’s La Pointe courte (1954)

Acta Universitatis Sapientiae, Film and Media Studies

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

When, through highly atypical financial and creative means, French filmmaker Agnès Varda’s first feature film The Pointe Courte (La Pointe courte, 1954) first...

Avoid Contact with the Eyes and Skin, May Cause Irritation: Agnès Varda’s La Pointe courte (1954)

Publié en ligne: 30 mai 2014

Pages: 65 - 82

DOI: https://doi.org/10.2478/ausfm-2014-0015

© 2014

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.