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	Varda - Wikipedia, the free encyclopedia
		Tolkien's fantasy universe, Middle-earth, Varda Elentári is a Vala, wife of Manwë.
		Varda is said to be too beautiful for words; within her face radiates the light of Iluvatar.
		Varda created the stars before the Valar descended into the world, and later with the dews from the vats of Telperion she made the constellations, most significantly The Sickle of the Valar (The Big Dipper).
	en.wikipedia.org /wiki/Varda (335 words)

	Film/Art: Varda, Etc, Etc...Cinema Scope Magazine Online
		Varda was so entranced by “Partners,” an art exhibition at Munich’s Haus de Kunst late last year (after its earlier Toronto launch), that she found herself thinking beyond the complexities of the show, to the mind—obviously sagacious and obsessive—of its curator.
		Varda equates the fl-framed photographs, hung from floor to ceiling, to urns (“boîtes de vies”) in a columbarium, and the room suddenly shifts from life to death.
		Varda, ever preoccupied with the tension and unique relationship between photography and film (and time and memory) revisits a photo she took in 1954.
	www.cinema-scope.com /cs20/col_picard_varda.htm (1801 words)

	Timeline \| The Jean Varda Project
		Varda studied the old Masters and Realism and was a portrait painter receiving commissions by age 12.
		Varda was a dancer with the Imperial Royal Ballet in London.
		Varda was an adventurer, an expatriate Greek who had worked in Paris in a studio with artists such as Braque and Miro...
	www.varda.to /timeline.htm (1167 words)

	French culture \| cinema: The Gleaners and I, by Agnes Varda (Site not responding. Last check: 2007-10-21)
		cinema: The Gleaners and I, by Agnes Varda
		Varda isn't particularly interested in immortalizing today's gleaners but in investigating the reasons that lead the anonymous (desperate and quixotic both) and the celebrated (including a famous chef) to sift through our detritus.
		Along her journey, Varda constructs a portrait of France that is every bit as modern as the digital camera with which she does her filming, and in the process comes up with her finest, most effective work since Vagabond.
	www.frenchculture.org /cinema/festival/varda/gleaners.html (189 words)

	The Films of Agnès Varda
		Varda adjusts her palette to concentrate on hues that have a lot of white mixed in with them.
		Varda often shoots walls straight on, so that the wall is parallel to the plane of the shot.
		Varda also includes pans that resemble lateral tracks - she is quite willing to settle for a simpler-to-set-up panning shot, if it keeps almost parallel to a wall, and resembles a lateral track.
	members.aol.com /MG4273/varda.htm (3155 words)

	Agnès Varda Festival (Site not responding. Last check: 2007-10-21)
		Varda’s greatest commercial success follows the final weeks of a free-spirited, leather-jacketed, alienated teenager (Sandrine Bonnaire) as she wanders the south of France in the cold autumn, interacting with individuals with whom she is often deeply at odds.
		Varda’s lovely and loving tribute to her late husband, director Jacques Démy, and to the magic of cinema, dramatically recreates Demy’s boyhood in World War II Nantes during which he taught himself the tools of filmmaking.
		Varda’s debut film interweaves two parallel stories: a married couple struggling to save their relationship, and fishermen combating poverty and officialdom.The film is preceded by L’opéra-Mouffe (1958, 17 min) in which music links documentary scenes from the vegetable market on the famous Parisian rue Mouffetard.
	www.la-maison-francaise.org /en_varda.htm (694 words)

	Agnes Varda's Cinematic Geographies
		Cleo from 5 to 7 (1961) brought Varda international recognition and established her as a feminist filmmaker.
		The film chronicles two hours in the life of a pop singer waiting for the results of a cancer test as she moves through the cafes, streets, and parks of Paris, slowly metamorphosing from a narcissistic star to a woman more fully engaged in her environment.
		Other highlights of Varda's career include her wry, formally beautiful documentaries shot in the streets of Paris: L'Opéra-Mouffe (1958), Daguerréotypes (1974), and Les Dites Cariatides (1984), as well as a moving portrait of her late husband, filmmaker Jacques Demy, Jacquot de Nantes (1991).
	www.varda.wisc.edu /biography.htm (348 words)

	Agnès Varda
		Varda has preserved a youthfulness which is evidenced by her films and even her publicity pictures which show her as vibrant, dark haired, and young at heart.
		Ruth Hottell suggests “Varda's cinema is one of subjective inclusion: she includes herself, her friends, and her family directly and indirectly in her films.” (6) The playful prelude has the teenage Julien acting out a game character, in jerky movements with appropriate electronic sounds.
		(12) Varda is dismissed by critic Claire Johnston as “reactionary and certainly not feminist”, (13) yet is considered by most to be an exemplar of feminist filmmaking for her consistent use of female protagonists and crafting of a female cinematic voice.
	www.sensesofcinema.com /contents/directors/02/varda.html (3443 words)

	Agnès Varda's Vagabonde: The Outcast as a Mirror
		Varda, who has always been fascinated with the audience's participation in the production of meaning, has created a film in which the reactions of secondary characters build a portrait of an enigmatic woman.
		The film opens with the image of a frozen female corpse and a narrator (Varda) tells the audience that what follows are interviews with the people who knew her in the last weeks of her life.
		From the outset, Varda establishes that she is using the accounts of witnesses to build a portrait of Mona, but as the film progresses it becomes evident that these interviews reveal more about the witnesses than the drifter.
	www.kinema.uwaterloo.ca /quig931.htm (2992 words)

	Agnes Varda's Cinematic Geographies
		Varda's most recent film, which she terms a "wandering-road-documentary", is an intimate exploration of the foragers and scavengers who populate the French landscape.
		Critically acclaimed as Varda's masterpiece, Vagabond begins in the south of France, where Mona, a young woman, is found frozen in a ditch.
		Varda's son stars in this bittersweet film about an intergenerational relationship between a 40-year old divorcée and her daughter's classmate, Julien, a 15-year old obsessed with the eponymous video game.
	varda.wisc.edu /film.htm (997 words)

	INTERVIEW: "Gleaning" the Passion of Agnes Varda: Agnes Varda
		She was considered a precursor to the revered cinematic movement of Truffaut and Godard, and was clearly influential in tone and style.
		Varda is perhaps best known, however, for her talent as a documentarian, which enhanced both her fictional and non-fiction films.
		Varda's brilliance is most evident, however, in works like "Jacquot," a portrait of her late husband, filmmaker Jacques Demy ("Umbrellas of Cherbourg"), "Vagabond," and stunning shorts like "l'Opéra Mouffe" and "Salut les Cubains," that utilize the skills she honed during her early years as a photojournalist.
	www.indiewire.com /people/int_Varda_Agnes_010308.html (1966 words)

	Trash And Treasure: The Gleaners And I
		Varda has a (sometimes contested) reputation as a feminist, left-wing artist, and this is very much a political film, though it offers a series of poetic metaphors and concrete encounters in lieu of an explicit, closely reasoned argument.
		One major way Varda expands the parameters of her subject is by making constant reference to paintings and other artworks, both as illustrations of gleaning's historic past (paintings by Millet and Van Gogh) and as creative examples of gleaning in the present (sculptures, collages and so on made from found materials).
		Varda may be a critically neglected filmmaker, and her work may be economically marginal in relation to the global entertainment industry.
	www.sensesofcinema.com /contents/02/23/gleaners.html (1301 words)

	Picture Book: Agnès Varda's Cinevardaphoto
		For "Ulysses," Varda grants herself the unusual screen credit of cinécrit, but the écriture in question is actually the titular photograph she took on a beach in 1954.
		Yet Varda edits her images in a way so as to allow the exhibit to work its macabre magic: Hendeles's appearance, dressed in gothic long fl dresses, metallic claw-like rings on her fingers, and endowed with a crooked jawbone and piercing eyes, augurs something far more ominous.
		Varda withholds revealing the crucial third room until rather far into her 44-minute short; upon exiting the hall of teddy bears, one is forced to come upon a bare room, a kneeling figure in the direct center of the floor, its back facing you as you walk towards it.
	www.indiewire.com /movies/movies_050208varda.html (1587 words)

	Frenchculture.org \| Cinema \| Anges Varda : The Gleaners and I DVD Contest / Zeitgeist (Site not responding. Last check: 2007-10-21)
		Varda trains her ever-seeking eye on "gleaners", those who pick over already-harvested fields for the odd potato or turnip, who insist on finding a use for what society has determined it has no use for.
		Varda's own ruminations on her life as a filmmaker (a gleaner of sorts), gives her a connection to her subjects that creates a touching human portrait that the L.A. Weekly called "a protest film that's part social critique, part travelogue, but always an unsentimental celebration of human resilience."
		Cinematography by Stéphane Krausz, Didier Rouget, Didier Doussin, Pascal Sautelet and Agnès Varda
	www.frenchculture.org /cinema/events/contest/vardagleanerscontest.html (322 words)

	Review - Agnes Varda
		Agnès Varda herself, of course, falls astride these apparently distinct categories, being unquestionably well established, with forty-five years of filmmaking behind her, yet little known to anglophone filmgoers.
		She must be one of the few critics, English or French, who has had the chance to view and analyze all Varda's films, long and short, fiction and documentary, many of which are rarely screened, and her analyses are always thoughtful and plausible.
		There is no sense that Varda is working within an industry and amidst colleagues who were notoriously working on similar themes - time, memory, the representation of women, the foregrounding of production, realism effects - which unquestionably interacted with their presence in Varda's films.
	www.latrobe.edu.au /screeningthepast/reviews/rev0600/ccbr10a.htm (876 words)

	Short Bio \| The Jean Varda Project
		Varda was first taught by his mother, a muralist in Smyra, Greece.
		Varda was successful selling his art in New York, but he preferred to live in California.
		She lives in Sausalito on the ferryboat Vallejo where Varda lived for 20 years, taught classes and had his studio.
	www.varda.to /bio_01.htm (405 words)

	French culture \| cinema: Agnes Varda Retrospective
		Her signature elements can be clearly discerned: a tendency to inflect narrative with documentary reality, a deep interest in everyday life, and a photographer's keen and practiced eye.
		Varda began as a still photographer working primarily in the theater, and then--with no film school education, no production experience, and no particular love of cinema--she threw herself into making films.
		Varda was in a certain sense "the first bell sound of a huge carillon concert." She went on to rock the film world with groundbreaking works like Cléo from 5 to 7, Happiness, Jacquot, Documenteur, and Vagabond.
	www.info-france-usa.org /culture/cinema/festival/varda/0102walker.html (256 words)

	Agnès Varda - Wikipedia, the free encyclopedia
		Agnès Varda (born May 30, 1928) is a French filmmaker and director based in Paris and one of the key figures in modern film.
		She is called the "Grandmother of the New Wave" by some of her critics.
		Agnès Varda teaches at the European Graduate School in Saas Fee, Switzerland.
	en.wikipedia.org /wiki/Agnes_Varda (185 words)

	Agnes Varda (Site not responding. Last check: 2007-10-21)
		Agnes Varda's Vagabond is an excoriating, subtly disturbing portrait of alienation and lost direction.
		Her name is Mona Bergeron (Sandrine Bonnaire), an inscrutable young woman who comes from a good home and possesses employable skills, but has dropped out of society and chosen the freedom of non-responsibility (Similarly, in Krzysztof Kieslowski's Blue, Julie's liberation from her painful tragedy comes from relinquishing all of her possessions).
		Varda clinically unfolds her life before us through the unstructured fluidity of a narrative, reflecting the heroine's nomadic existence: anecdotes, interviews and observations by other people who have crossed paths with her, but do not really know her.
	www.filmref.com /directors/dirpages/varda.html (368 words)

	Jan 9th 2004 Jean Varda Fundraiser \| Cinefemme
		Varda, who died in 1971, was best known as a collagist.
		The Jean Varda Project has fiscal sponsorship from Cinefemme and all donations are tax-deductible 501(c)3 non-profit status.
		Varda's collages are dispersed throughout California and other parts of the world in private homes.
	www.cinefemme.org /events/varda_01.htm (554 words)

	Anais Nin \| Varda
		I learnded from Varda, who made collages out of bits of cloth...Varda also went to the junkyard, and from discarded boats made himself a beautiful Greek Sailboat.
		This is the power to create out of nothing we need to restore ourselves...being able to create something out of clay, out of glass, out of bits of maaterial, out of junkyards, out of anything is the proof of the creativity of man and the magic of art.
		Well known for his outrageous parties, with topless dancers and many lovely young girls, Varda developed a bit of a reputation as a dirty old man. Anais defends him, "The comment on Varda was absurd.
	www.vallejo.to /artists/varda_anais.htm (490 words)

	KODAK: Agnès Varda to Receive IDA Pioneer Award - Print Friendly Version
		Varda employed her skills as a photojournalist in her first documentary project, La Pointe Courte (1956).
		Varda's instinctive and skillful approach to documentary storytelling resulted in such films as Jacquot, a portrait of her late husband, filmmaker Jacques Demy (Les Parapluies de Cherbourg and such stunningly compelling short films as l'Opéra Mouffe and Salut les Cubains)
		In 2002, Varda made a follow-up film in which she tracked down some of the subjects of the original film and asked whether their situations had changed.
	www.kodak.com /US/en/motion/forum/documentary/vardaP.shtml (572 words)

	Gerald Peary - interviews - Agnes Varda
		Agnes Varda, whose thrilling One Sings, the Other Doesn’t opens the 1977 New York Film Festival, is as pesky as she is petite: compulsively sharp-tongued, opionated, borderline rude.
		Varda was one of the original, acclaimed French New Wave directors; her 1962 Cleo from 5 to 7 was discussed in company with Truffaut, Godard, Resnais.
		Varda is adamant that she’s been the same all along, that One Sings departs from earlier films more in method than in ideology; it’s the latest incarnation of her struggles, since age 18, with women’s issues.
	www.geraldpeary.com /interviews/stuv/varda.html (1062 words)

	MoMA.org \| Film & Media Exhibitions \| 1997 \| Agnès Varda
		Varda's approach can be best discerned in this work: a tendency to inflect narrative with reality, and a deep interest in the everyday life of women.
		Varda, a critical feminist, regards filmmaking as artisanal work equivalent to weaving and hand sewing and has established her own filmmaking atelier "cinè-tamaris." She has made films in France, Iran, Cuba, and the United States, where in the 1967 she made
		Agnès Varda is presented with the cooperation of the French Ministry of Foreign Affairs and was organized by Laurence Kardish, Curator, Department of Film.
	www.moma.org /exhibitions/1997/varda (320 words)

	Mondays: Monday Night -- 02.02.04 — women don’t lie -- Agnes Varda -- The Gleaners and I
		Varda has also created a series of works on or about her late husband, fellow New Wave director Jacques Demy, such as the beautiful JACQUOT DE NANTES (1991), a touching portrait of Demy's childhood years and his discovery of the cinema.
		Varda is very excited with her mini DV camera and the freedom it allows her.
		Varda gently edits the piece around the new words that the students are learning to pronounce and write that evening, on of them being nocturnal activity, which humorously enough is exactly what they and their teacher are engaged in.
	www.16beavergroup.org /monday/archives/000758.php (6121 words)

	Varda Burstyn Biography
		Since then Varda has developed her analysis of government and the politics of the neo-liberalism and neoconservativism in all her her other areas of work, and in particular her ideas about democratizing government have been developed in her work in public policy and public administration (see Selected Works).
		In the early 1990s, Varda added health policy consulting to her work, and spent the better part of the 1990s in related projects.
		Varda was an important participant in the North American debates about sexuality, pornography and political strategies during the 1980s.
	www.vardaburstyn.com /biog.html (1015 words)

	Of Varda
		Varda, 'The Exalted', 'The Lofty', 'The Sublime' (the name being a Quenya translation of the Valarin title) also named in Quenya Elentári 'Lady of the Stars' and Tintallë 'The Kindler'.
		She is the greatest of the Valier, the spouse of Manwë, dwelling with him on Taniquetil.
		Then Varda went forth from the council, and she looked out from the height of Taniquetil, and beheld the darkness of Middle-earth beneath the innumerable stars, faint and far.
	www.elvish.org /gwaith/silmarillion_varda.htm (346 words)

	Varda
		I first met Varda in 1957 at Nepenthe in Big Sur.
		We decided to cruise over to Varda's ferryboat and visit two girls who were taking care of the place while he was away in Greece.
		Varda collected everything from tinfoil to real emeralds and solar batteries.
	www.woodstocknation.org /varda.htm (283 words)

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