Agnès Varda has been an important figure in French and European cinema for over fifty years. Her work is often discussed in the context of new wave cinema and feminist approaches to film. Her expatriate films, however, have received little critical attention. An appraisal of
Mur, murs (1980) and Documenteur (1981), both shot in California in the late 1970s, provides unique insight into Varda's cinema. An analysis of the locational modus operandi of the Californian diptych demonstrates the aesthetic coherence of the director's project, helping
to situate these films within Varda's cinematographic production. A detailed examination of the diptych's aural qualities also illustrates Varda's revisionist and political poetics and provides an interesting example of the way Varda explores the notion of space. Looking at these films carefully
helps us understand the importance of adopting a comprehensive and self-reflexive perspective when studying women's cinema and its many different facets.
Journal of Romance Studies promotes innovative critical work in the areas of linguistics, literature, performing and visual arts, media, material culture, intellectual and cultural history, critical and cultural theory, psychoanalysis, gender studies, social sciences, and anthropology. The primary focus is on those parts of the world that speak, or have spoken, French, Italian, Spanish or Portuguese, but work on other cultures may be included. Issues cross national and disciplinary boundaries in order to stimulate new ways of thinking about cultural history and practice.