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	<title>vol. 6, issue 1: varda Archives - cléo</title>
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	<link>https://cleojournal.com/category/vol-6-issue-1-varda/</link>
	<description>a journal of film and feminism</description>
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		<title>Editors&#8217; Note: Varda</title>
		<link>https://cleojournal.com/2018/04/11/editors-note-varda/</link>
		
		<dc:creator><![CDATA[cléo journal]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 12:04:39 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[Alexandra Hidalgo]]></category>
		<category><![CDATA[Caroline Leone]]></category>
		<category><![CDATA[cleo de 5 a 7]]></category>
		<category><![CDATA[Les dites cariatides]]></category>
		<category><![CDATA[salut les cubains]]></category>
		<category><![CDATA[sarah-tai black]]></category>
		<category><![CDATA[so mayer]]></category>
		<category><![CDATA[Sofia Bohdanowicz]]></category>
		<category><![CDATA[une minute pour une image]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3117</guid>

					<description><![CDATA[<p>With five years of cléo under our belts, it seemed only right to take this issue back to our roots, our namesake, and the reason we started this journey at all: Agnès Varda. Our founding editor, Kiva Reardon, discovered Varda in a third-year film class, and the rest is herstory; as the most prominent woman [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/editors-note-varda/">Editors&#8217; Note: Varda</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
			</item>
		<item>
		<title>&#8220;Curiosity is a good thing&#8221;: An Interview with Agnès Varda</title>
		<link>https://cleojournal.com/2018/04/11/curiosity-is-a-good-thing-an-interview-with-agnes-varda/</link>
		
		<dc:creator><![CDATA[kiva reardon]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 12:02:46 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[balance ton porc]]></category>
		<category><![CDATA[beaches of Agnès]]></category>
		<category><![CDATA[cleo de 5 a 7]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[feminism]]></category>
		<category><![CDATA[interview]]></category>
		<category><![CDATA[kiva reardon]]></category>
		<category><![CDATA[me too]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3091</guid>

					<description><![CDATA[<p>For some 50 years, Agnès Varda has worked and lived in the 14th arrondissement in Paris, in a pink-painted atelier on rue Daguerre. (Her love of this milieu is well-known: she documented her fellow inhabitants of the small street in 1976’s Daguerréotypes, and in 2003 filmed a short surrealist rom-com, Le Lion Volatil, around the iconic [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/curiosity-is-a-good-thing-an-interview-with-agnes-varda/">&#8220;Curiosity is a good thing&#8221;: An Interview with Agnès Varda</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<item>
		<title>Beyond the Photo Album: Relocating Varda’s Salut les Cubains</title>
		<link>https://cleojournal.com/2018/04/11/relocating-vardas-salut-les-cubains/</link>
		
		<dc:creator><![CDATA[Sarah-Tai Black]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:57:50 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[cinévardaphoto]]></category>
		<category><![CDATA[Cuban Revolution]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[photo-essay]]></category>
		<category><![CDATA[salut les cubains]]></category>
		<category><![CDATA[sarah-tai black]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3000</guid>

					<description><![CDATA[<p>The English-language critical response to Agnès Varda’s Salut les Cubains, a 1963 photo-montage documentary short exploring post-revolution Cuba, has largely positioned the film as a historical stepping stone on the concurrent paths of Varda’s political engagement and filmic preoccupation with still photography. These discussions often take as their jumping-off-point Salut les Cubains’ inclusion in Cinévardaphoto [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/relocating-vardas-salut-les-cubains/">Beyond the Photo Album: Relocating Varda’s &lt;i&gt;Salut les Cubains&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
			</item>
		<item>
		<title>On the Body and Becoming: Cléo de 5 à 7</title>
		<link>https://cleojournal.com/2018/04/11/on-body-becoming-cleo-de-5-a-7/</link>
		
		<dc:creator><![CDATA[Nourhan Hesham]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:54:48 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[cleo de 5 a 7]]></category>
		<category><![CDATA[cleo from 5 to 7]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3016</guid>

					<description><![CDATA[<p>In Agnès Varda’s 1962 film Cléo de 5 à 7, cancer is mentioned enough that one begins perceiving it as a condition of existence rather than a sickness. Indeed, the film opens with an ominous diagnosis at a fortune teller: Cléo (Corinne Marchand) gets the death card in her tarot reading. The elderly seer soothes [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/on-body-becoming-cleo-de-5-a-7/">On the Body and Becoming: &lt;i&gt;Cléo de 5 à 7&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<item>
		<title>The Varda Variations: (Re)introductions of the Auteure in Documenteur and Beyond</title>
		<link>https://cleojournal.com/2018/04/11/varda-variations-documenteur/</link>
		
		<dc:creator><![CDATA[so mayer]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:53:06 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[auteure]]></category>
		<category><![CDATA[autofiction]]></category>
		<category><![CDATA[documenteur]]></category>
		<category><![CDATA[Jane Campion]]></category>
		<category><![CDATA[shirley clarke]]></category>
		<category><![CDATA[vardadian]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3124</guid>

					<description><![CDATA[<p>If I’m no good at pretending to be a man and no good at being young, I might just as well start pretending that I am an old woman. I am not sure that anybody has invented old women yet; but it might be worth trying. — Ursula K. Le Guin, “Introducing Myself,” The Wave [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/varda-variations-documenteur/">The Varda Variations: (Re)introductions of the Auteure in &lt;i&gt;Documenteur&lt;/i&gt; and Beyond</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<item>
		<title>Photo Playing: The Archival Journey of Une minute pour une image</title>
		<link>https://cleojournal.com/2018/04/11/une-minute-pour-une-image/</link>
		
		<dc:creator><![CDATA[joseph pomp]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:51:28 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[aby warburg]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[andre malraux]]></category>
		<category><![CDATA[archival]]></category>
		<category><![CDATA[archiving]]></category>
		<category><![CDATA[cinévardaphoto]]></category>
		<category><![CDATA[educational]]></category>
		<category><![CDATA[photographs]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[ulysse]]></category>
		<category><![CDATA[une minute pour une image]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3048</guid>

					<description><![CDATA[<p>Agnès Varda’s practice of snapping photos has spanned nearly her entire lifetime. It served as her day job up until the success of Cléo de 5 à 7,[i] and part of her stylistic imprint as a filmmaker derives from her brilliant way of turning photographic encounters into avant-garde cinema. The three short documentaries that Varda [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/une-minute-pour-une-image/">Photo Playing: The Archival Journey of &lt;i&gt;Une minute pour une image&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<item>
		<title>Wandering in the Presence of Women: Les dites cariatides</title>
		<link>https://cleojournal.com/2018/04/11/wandering-in-the-presence-of-womenles-dites-cariatides/</link>
		
		<dc:creator><![CDATA[eloise ross]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:49:40 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[Ciné-Tamaris]]></category>
		<category><![CDATA[Les dites cariatides]]></category>
		<category><![CDATA[The So-Called Caryatids]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3077</guid>

					<description><![CDATA[<p>“Every face tells a story.” &#8211; Agnès Varda, Visages villages (2017) Across many of her works, in her decades-long filmmaking career, Agnès Varda has searched for stories in people’s faces, histories embedded in the concrete textures of places, locations and architecture. Her films create topographies of the human experience, always—directly or otherwise—through a feminist lens. [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/wandering-in-the-presence-of-womenles-dites-cariatides/">Wandering in the Presence of Women: &lt;i&gt;Les dites cariatides&lt;/i&gt;</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<item>
		<title>&#8220;Agnès&#8217;s Fantastic Truths&#8221;: A Varda Comic Strip</title>
		<link>https://cleojournal.com/2018/04/11/varda-comic/</link>
		
		<dc:creator><![CDATA[alejandra espino]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:48:01 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[cleo from 5 to 7]]></category>
		<category><![CDATA[jane b. par agnes. v]]></category>
		<category><![CDATA[jane birkin]]></category>
		<category><![CDATA[new yorker]]></category>
		<category><![CDATA[richard brody]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3040</guid>

					<description><![CDATA[<p>Our cover artist Alejandra Espino explores and reflects upon the ways Agnès Varda shapes narratives when deciding to tell a story. By using small details, Varda transforms the seemingly minute to play with traditional ideas regarding memory, biography and even truth.</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/varda-comic/">&#8220;Agnès&#8217;s Fantastic Truths&#8221;: A Varda Comic Strip</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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		<item>
		<title>The Gift of Collaboration: A Roundtable on Agnès Varda</title>
		<link>https://cleojournal.com/2018/04/11/the-gift-of-collaboration-a-roundtable-on-agnes-varda/</link>
		
		<dc:creator><![CDATA[cléo journal]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:42:52 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<category><![CDATA[Agnes Varda]]></category>
		<category><![CDATA[cleo de 5 a 7]]></category>
		<category><![CDATA[la pointe courte]]></category>
		<category><![CDATA[le bonheur]]></category>
		<category><![CDATA[Sofia Bohdanowicz]]></category>
		<category><![CDATA[the gleaners and i]]></category>
		<category><![CDATA[Vagabond]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?p=3004</guid>

					<description><![CDATA[<p>Filmmakers Alexandra Hidalgo, Sofia Bohdanowicz and Caroline Leone and actress Indra De Bruyn discuss their shared love of the works of Agnès Varda—including La Pointe Courte, Le Bonheur, Cléo de 5 à 7, Vagabond, The Gleaners and I and The Beaches of Agnès—and the lessons they have learned from her craft. Alexandra: The first Agnès [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/2018/04/11/the-gift-of-collaboration-a-roundtable-on-agnes-varda/">The Gift of Collaboration: A Roundtable on Agnès Varda</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
			</item>
		<item>
		<title>vol. 6, issue 1: varda</title>
		<link>https://cleojournal.com/?p=3135</link>
		
		<dc:creator><![CDATA[kiva reardon]]></dc:creator>
		<pubDate>Wed, 11 Apr 2018 11:41:06 +0000</pubDate>
				<category><![CDATA[vol. 6, issue 1: varda]]></category>
		<guid isPermaLink="false">https://cleojournal.com/?post_type=issue&#038;p=3135</guid>

					<description><![CDATA[<p>After five volumes and 15 issues, it’s time we pay tribute to the inspiration behind our name (in case you were wondering, cléo is a reference to the titular character from the 1962 classic Cléo de 5 à 7). A legendary filmmaker whose oeuvre spans seven decades (and counting!), Agnès Varda has both shaped and disrupted the cinematic [&#8230;]</p>
<p>The post <a href="https://cleojournal.com/?p=3135">vol. 6, issue 1: varda</a> appeared first on <a href="https://cleojournal.com">cléo</a>.</p>
]]></description>
		
		
		
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