Abstract Le Bonheur, perhaps Agnès Varda’s most beautiful film, is also her most perplexing. The film’s insistently idyllic surface qualities, overtly beautiful imagery, and psychologically impenetrable, improbably content characters mystify and confuse. Of late, feminist scholars have clarified the situation, noting Varda’s incorporation of advertising and pop cultural visual rhetoric to implicate the social forces framing the picture and those insistently “happy” people: more like advertising ciphers than dramatic characters. Varda herself referenced Impressionist painting as a source of the film’s aesthetics. The purposes of this vivid, chromatic intertextual and intermedial source, in relation to the rhetoric of commercial and popular culture, demand attention. Varda studied art history and connected the milieu of Le Bonheur, the Parisian exurbs, their petit-bourgeois and working-class populace, and bucolic leisure, artisanal and industrial settings, to the modernity of 19th-century Impressionism. Le Bonheur uses an Impressionist picturesque dialectically, in relation to a pop contemporaneity, to observe and critique an ideological genealogy of capitalism and its oppression of women.

中文翻译：

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“展示陈词滥调：”阿涅斯·瓦尔达的《快乐的表象》中的幸福

摘要 Le Bonheur，也许是阿涅斯瓦尔达最美丽的电影，也是她最令人困惑的。这部电影始终如一的田园诗般的表面品质，明显美丽的图像，以及心理上难以理解的，不可能满足的角色使人感到困惑和困惑。最近，女权主义学者已经澄清了这种情况，并指出瓦尔达将广告和流行文化视觉修辞结合起来，暗示了构成画面的社会力量和那些坚持“快乐”的人：更像是广告密码而不是戏剧人物。瓦尔达本人将印象派绘画作为电影美学的来源。这种生动的、色彩丰富的互文和中介资源的目的，与商业和流行文化的修辞有关，需要引起注意。Varda 研究艺术史，并将 Le Bonheur、巴黎郊区、他们的小资产阶级和工人阶级民众以及田园休闲、手工和工业环境与 19 世纪印象派的现代性联系起来。Le Bonheur 辩证地使用印象派风景如画，与流行同时代的关系，观察和批评资本主义的意识形态谱系及其对妇女的压迫。