Agnès Varda : la cinéaste de la Nouvelle Vague vue par le petit écran

Dans cet article, l'autrice etudie les interventions d'Agnes Varda a la television francaise et la maniere dont cette derniere a forge une image genree de la cineaste. Dans ses reportages, journaux televises et emissions specialisees, le petit ecran a systematiquement associe la realisatrice a la figure de la femme, de la mere, de l'epouse et de la grand-mere. Quand bien meme Varda y est quantitativement bien representee - notamment a partir de la selection de son deuxieme long-metrage Cleo de 5 a 7 au Festival de Cannes en 1962 - le petit ecran a aussi contribue a une forme d'invisibilisation. Dans cet article, l'autrice se concentre sur les debuts de la television - concomitants de ceux de la cineaste - et la maniere dont elle a minore son role au sein de la Nouvelle Vague. Si celle-ci est une formule creee par les medias, l'elaboration de son histoire a impacte le parcours de ses membres encore en activite. A travers le cas d'Agnes Varda, l'article illustre la difficulte des realisatrices du vingtieme et vingt-et-unieme siecle a affirmer leur oe uvre et pose la question de l'impact des medias dans la carriere d'une artiste. This article examines the appearances of Agnes Varda on French television and the way in which the latter forged a gendered image of the filmmaker. On the news or in specialised programmes, television has systematically associated the director with the figure of the woman, the mother, the wife and the grandmother. Even though Varda is quantitatively well represented there - starting notably from the selection of her second feature film Cleo de 5 a 7 at the Cannes Film Festival in 1962 - the small screen has also, to some extent, contributed to rendering her invisible. In this article, the author focuses on the beginnings of television - concomitant with those of the filmmaker - and the way in which it minimised her role within the New Wave. If the New Wave is a label created by the media, the way in which its history has been constructed has impacted the paths of its members who are still active. Through the case of Agnes Varda, the article illustrates the difficulty experienced by female directors of the twentieth and twenty-first century in affirming their work and raises the question of the media's impact on the career of an artist.