Abstract This paper argues that, further to the established artistic influences on Le Bonheur, for example vibrant Impressionist tableaux such as Édouard Manet’s Le Déjeuner sur l’herbe (1863) and Pierre-Auguste Renoir’s La Grenouillère (1869), Pop Art shapes both the aesthetic and the content of the film. As in the films of her friend Jean-Luc Godard, the paper argues, discrete images from Varda’s New Wave film critique contemporaneous advertising, principally that which is aimed at and objectifies women, in similar ways to Pop Art images of the era. Certainly, Pop’s images abounded with semi-nude and nude women, some of whom were not ironically presented but offered as a continuation of advertising’s gallery of sexualised female bodies. Andreas Huyssen argues, however, that Pop as a critical medium was cultivated by European artists in the 1960s who were ‘trying to develop an art of social criticism’. The author draws similar links between Pop Art, advertising and the cinema, locating those moments at which they interweave in Le Bonheur to reflect the Pop Art form and message. He suggests that the appropriation of consumerist imagery in Varda’s film, as in Pop Art, is an ironic counterpoint used to critique society as perceived by the artist.

中文翻译：

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广告幸福的艺术：阿涅斯·瓦尔达（AgnèsVarda）的《勒·博恩（Le Bonheur）和波普艺术》

摘要本文认为，除了对Le Bonheur的确立的艺术影响之外，例如爱德华·马奈（ÉdouardManet）的LeDéjeunersurherbe（1863）和Pierre-Auguste Renoir的LaGrenouillère（1869）等充满活力的印象派风景画，波普艺术还塑造了美学和电影的内容。与她的朋友让·卢克·戈达尔（Jean-Luc Godard）的电影一样，该论文认为，来自瓦尔达（Varda）的《新浪潮》电影批评的同时期广告的离散图像，主要是针对和客观化女性的，与当时的波普艺术图像类似。当然，Pop的图像中充斥着半裸和裸体的女人，其中有些没有讽刺意味地呈现出来，但作为广告展示的女性化性别画廊的延续。但是，安德烈亚斯（Andreas Huyssen）认为，流行音乐作为一种重要的媒介是1960年代欧洲艺术家所培育的，他们“试图发展一种社会批评艺术”。作者在波普艺术，广告和电影院之间绘制了类似的链接，找到了它们在Le Bonheur中交织的那一刻，以反映波普艺术的形式和信息。他认为，如波普艺术中那样，挪用瓦尔达电影中的消费主义意象是讽刺性的对立，被艺术家用来批评社会。