d has been described by Gilles Deleuze as one of 'the greatest modern auteurs, whose work, alas, may well develop its effects only in the long term, endowing the cinema with powers that are as yet not well known.' Despite this kind of endorsement, Garrel has remained a relatively elusive figure, and his cinematic oeuvre has received limited attention amongst scholars of-and commentators on - French cinema. This thesis contends that the marginalization of Garrel's films is due to the formal and ideological irregularity of an oeuvre that embraces artisanal modes of production, shifts between the avant-garde and the mainstream, and, although connected with several schools and film groupings, is never fully affiliated with any. It contends that his work is especially relevant to any consideration of film language and political transformations within France since the events of May '68. Garrel, who took part in these events as a young man, has produced a challenging and provocative body of work, that continues to offer an important contribution debates about the relations between art and politics, cinema and engagement, even if that contribution has been neglected.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:678827 |
| Date | January 2014 |
| Creators | Leonard, M. P. |
| Publisher | Queen's University Belfast |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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