Abstract

Identifying intersections with Benjamin's 1936 essay, this article considers the motif of the work of art in Varda's recent cinécriture. Analysing Varda's juxtaposition of gleaners motivated by need, ethics and aesthetics, it demonstrates how the self-reflexive filmmaker-gleaner invites questions about marginalization, waste and the critical potential of the work of art in the age of global consumption.

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