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Studies in French Cinema Volume 17, 2017 - Issue 1
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Varda, Cléo and Pomme in Paris: the figure of the chanteuse in Cléo de 5 à 7 and L’Une chante, l’autre pas

Jennifer WallaceDepartment of Film Studies, King’s College London, London, UKCorrespondence[email protected]
Pages 44-59 | Published online: 25 Oct 2016

Filmography

Works cited

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  • Conway, Kelley. 2004. Chanteuse in the City: The Realist Singer in French Film. Berkeley: University of California Press, 2004.
  • Conway, Kelley. 2012. “France.” In The International Film Musical, edited by Corey K. Creekmur and Linda Y. Mokdad, 29–44. Edinburgh: Edinburgh University Press.
  • DeRoo, Rebecca. 2009. “Confronting Contradictions: Genre Subversion and Feminist Politics in Agnès Varda’s L’Une chante, l’autre pas.” Modern and Contemporary France 17 (3): 249–265.
  • Flitterman-Lewis, Sandy. 1996. To Desire Differently: Feminism and the French Cinema (Expanded Edition). New York: Columbia University Press.
  • Frith, Simon. 2007. “‘the Magic That Can Set You Free’: The Ideology of Folk and the Myth of the Rock Community.” In Taking Popular Music Seriously, edited by Simon Frith, 31–40. Aldershot: Ashgate.
  • Frith, Simon, and Angela McRobbie. 1990. “Rock and Sexuality.” In On Record: Rock, Pop and the Written Word, edited by Simon Frith and Andrew Goodwin, 371–391. London: Routledge.
  • Girod, Francis. 1966. Manuel de la pensée yé-yé. Paris: Julliard.
  • Gorbman, Claudia. 1981. “Cléo from 5 to 7: Music as Mirror.” Wide Angle 4 (4): 38–49.
  • Gorbman, Claudia. 2008. “Varda’s Music.” Music and the Moving Image 1 (3): 27–34.
  • Hottell, Ruth. 1999. “Including Ourselves: The Role of Female Spectators in Agnès Varda’s Le Bonheur and L’Une chante, l’autre pas.” Cinema Journal 38 (2): 52–71.
  • Kuisel, Richard F. 1997. Seducing the French: The Dilemma of Americanization. Berkeley: University of California Press.
  • Legrand, Michel, and Stéphane Lerouge. 2013. Rien n’est grave dans les aigus. Paris: Cherche Midi.
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  • McMahon, Orlene Denice. 2014. Listening to the French New Wave: The Film Music and Composers of Postwar French Art Cinema. Bern: Peter Lang.
  • Neroni, Hilary. 2016. Feminist Film Theory and Cléo from 5 to 7. New York: Bloomsbury Academic.
  • Orpen, Valerie. 2007. Cléo de 5 à 7: (Agnès Varda, 1961). Urbana: University of Illinois Press.
  • Pessis, Jacques, and Émilie Leduc. 2004. Les Années Yé-Yé. Tressilac: Chronique-Dargaud.
  • Powrie, Phil. forthcoming. “L’Une chante, l’autre pas (1976): Music, Movement and the Utopian Community.” In Varda Unlimited: Image, Music, Media, edited by Marie-Claire Barnet. Oxford: Legenda.
  • Sellier, Geneviève. 2005. La Nouvelle vague: un cinéma au masculin singulier. Paris: CNRS.
  • Sellier, Geneviève. 2008. Masculine Singular: French New Wave Cinema. Translated by Kristin Ross. Durham: Duke University Press.
  • Smith, Alison. 1998. Agnès Varda. Manchester, NH: Manchester University Press.
  • Tinker, Chris. 2007. “Rock ‘N’ Roll Stardom: Johnny Hallyday.” In Stardom in Postwar France, edited by John Gaffney and Diana Holmes, 67–93. New York: Berghahn Books.
  • Ungar, Steven. 2008. Cléo de 5 à 7. Basingstoke: Palgrave Macmillan.
  • Varda, Agnès. 1962. Cléo de 5 à 7. Paris: Gallimard.
  • Varda, Agnès, and Bernard Bastide. 1994. Varda par Agnès. Paris: Cahiers du cinema.
  • Vesey, Alyxandra. 2014. “Waste Not: Les Glaneurs et la glaneuse and the Heterogeneous Documentary Film Score.” Studies in French Cinema 14 (3): 167–179.
  • Vincendeau, Ginette. 1987. “The Mise-en-Scène of Suffering: French Chanteuses Realistes.” New Formations 3: 107–128.
  • Vincendeau, Ginette. 2004. “The Art of Spectacle: The Aesthetics of Classical French Cinema.” In The French Cinema Book, edited by Michael Temple and Michael Witt, 137–152. London: BFI.

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