ABSTRACT Zazie dans le métro (1960) appears as a quintessentially New Wave film with its youthful protagonist, its location shooting and its many references to cultural history. In addition, the self-conscious play with film technique in Zazie can be seen as a way of exploring the formal specificities of cinema. The film’s deployment of popular genre equates to Raymond Queneau’s use of demotic register and director Louis Malle takes a ludic approach to film grammar (as Queneau does to French grammar) in order to confuse or elide space and time. Yet the film did not meet with the success of other New Wave films and has not been canonized in the same way. This article suggests one explanation may be the comparative lack of indexical connection to a society in a period of acute social change. Indeed, the film challenges the very concept of indexicality through its proliferation of copies and eerie visual jokes about sameness. Zazie dans le métro is a self-contained circuit that seems, at times, almost to mock the New Wave itself.

中文翻译：

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'La Nouvelle Vague，elle t'emm---！' Louis Malle、Zazie dans le métro 和法国新浪潮

摘要 Zazie dans le métro (1960) 作为一部典型的新浪潮电影，以其年轻的主人公、外景拍摄和对文化历史的许多参考而出现。此外，《Zazie》中对电影技术的自觉发挥可以被视为探索电影形式特殊性的一种方式。这部电影对流行类型的部署等同于雷蒙德·奎诺对人口语域的使用，导演路易斯·马勒对电影语法采取了一种滑稽的方法（就像奎诺对法语语法所做的那样），以混淆或忽略空间和时间。然而，这部电影并没有像其他新浪潮电影那样取得成功，也没有以同样的方式被封为经典。这篇文章提出了一种解释，可能是在社会急剧变化的时期，与社会相对缺乏索引联系。确实，这部电影通过大量复制和关于同一性的怪异视觉笑话挑战了索引性的概念。Zazie dans le métro 是一个独立的赛道，有时似乎几乎是在嘲笑新浪潮本身。