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Vis-à-vis the glaneuse

Vis-à-vis the glaneuse ANGELAKI journal of the theoretical humanities volume 12 number 2 august 2007 Gleaning [glanage] itself is unknown – is forgotten. The word is passe´. I was intrigued by people in the street picking up discarded food, and I wondered: what’s happening to the fields of wheat? Nothing there left to glean. So I visited the potato fields, and I found these heart-shaped potatoes, and it made me feel good. It made me feel that I was on the right track. Films always originate in emotions. This time it was seeing so many people combing the marketplace or rummaging through super- market trash bins for leftovers. Seeing them made me want to film them and, specifically, what could not be filmed without their consent. How can one bear witness without hindering them? s.d. chrostowska Agne `s Varda, ‘‘‘Gleaning’ the Passion of Agne `s Varda’’ VIS-A-VIS THE gestures and postures GLANEUSE gne`s Varda’s Les Glaneurs et la glaneuse A[The Gleaners and I] was filmed between September 1999 and March 2000 and released stroller, is a character of nineteenth-century later that year, marking film’s entry into the new French urban, and specifically Parisian, culture. millennium. Along with its companion piece, Les He http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Angelaki: Journal of Theoretical Humanities Taylor & Francis

Vis-à-vis the glaneuse

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Vis-à-vis the glaneuse

Abstract

ANGELAKI journal of the theoretical humanities volume 12 number 2 august 2007 Gleaning [glanage] itself is unknown – is forgotten. The word is passe´. I was intrigued by people in the street picking up discarded food, and I wondered: what’s happening to the fields of wheat? Nothing there left to glean. So I visited the potato fields, and I found these heart-shaped potatoes, and it made me feel good. It made me feel that I was on the right track. Films always originate in...
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Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1469-2899
eISSN
0969-725X
DOI
10.1080/09697250701755092
Publisher site
See Article on Publisher Site

Abstract

ANGELAKI journal of the theoretical humanities volume 12 number 2 august 2007 Gleaning [glanage] itself is unknown – is forgotten. The word is passe´. I was intrigued by people in the street picking up discarded food, and I wondered: what’s happening to the fields of wheat? Nothing there left to glean. So I visited the potato fields, and I found these heart-shaped potatoes, and it made me feel good. It made me feel that I was on the right track. Films always originate in emotions. This time it was seeing so many people combing the marketplace or rummaging through super- market trash bins for leftovers. Seeing them made me want to film them and, specifically, what could not be filmed without their consent. How can one bear witness without hindering them? s.d. chrostowska Agne `s Varda, ‘‘‘Gleaning’ the Passion of Agne `s Varda’’ VIS-A-VIS THE gestures and postures GLANEUSE gne`s Varda’s Les Glaneurs et la glaneuse A[The Gleaners and I] was filmed between September 1999 and March 2000 and released stroller, is a character of nineteenth-century later that year, marking film’s entry into the new French urban, and specifically Parisian, culture. millennium. Along with its companion piece, Les He

Journal

Angelaki: Journal of Theoretical Humanities – Taylor & Francis

Published: Aug 1, 2007

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