Na janela da cinescritura de Agnès Varda: a imagem-tempo da memória em As praias de Agnès

Abstract

Agnès Varda was an artist who thought about her own identity in a plural way and played with the spectator’s perception of her image. This paper’s objective is to look into The Beaches of Agnès to understand how the filmmaker recreates memories and her own identity stem from the cinècriture. It problematizes on how the artist crafts an artwork by overlapping images, encounters and times, having in place the following research problem: how does Agnès Varda use the cinècriture in order to rewrite her identity in the Other’s eye? That way, the hypothesis is that the invocative and scopic drive participate subjectively on the work, providing the building of multiple identities and memories for its director. The theoretical basis anchors on Deleuze’s time-image concept, in a sublimation in art’s interpretation from Jacques Lacan and François Regnault work, on Jacques Lacan’s papers about the mirror stage and narcissism corresponding to the usage of mirrors on the film, as well as the interpretation of eroticism from Bataille. The methodological procedure relies on an extensive reviewing of Agnès Varda’s and other directors from the Nouvelle Vague’s work, along with a bibliographic mapping for this work’s basis. Therefore, the resultsreflect in an observation through the Lacanian registers, from the symbolic as looking into the artist’s biography and change of given name, a second one dedicated exclusively to The Beaches of Agnès analysis and how the memory and time operates on her imaginary, finalizing it with a third chapter that approaches the eroticism and the real’s figuration on the film as a reflex of the sublimation in art and the printing of the filmmaker’s desire, that is predominant since the change of her given name