Cinema and revolution
in Philippe Garrel
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Garrel’s ‘adolescent’ period (1964–1969) began with a series of short films, reminiscent of the cinema of the New Wave, extending to more austere and engaged works that were made in the period surrounding May 68. The analysis traces Garrel’s increasing distinction from the cinema of the New Wave, and challenges a common perception that he was a willing inheritor of this movement. It considers how his experimental works draw meaning through their relationship with positions and formal strategies developed in the cinema of Guy Debord (détournement, critique of the spectacle, anti-cinema), and how this suggests a political stance that remains linked to events happening on the street. Consideration is equally given to the significance of Garrel’s development of a ‘concentrationary’ aesthetic, something that foregrounds the link between May 68 and the legacy of the Holocaust.

Metrics

All Time Past Year Past 30 Days
Abstract Views 37 37 6
Full Text Views 5 5 1
PDF Downloads 9 9 5