Agnes Varda cinema in the context of feminist counter cinema

Femininity has been rearranged to serve the patriarchal ideology contrary to its reality. As for traditional cinema under the rule of patriarchal dominion, it has positioned the woman in accordance with patriarchal ideology. Feminist counter-cinema reveals a new language of cinema where women as presented as women by exposing techniques and forms utilized by traditional narrative cinema. Within the scope of this study, how women are positioned in Agnes Varda is analyzed from the perspective of feminist counter-cinema. Varda aimed to improve the position of women in cinema with the innovative cinema language she created in line with the feminist movement and presented female characters who became subjects to the audience. In this context, in the first part of the study, the historical development of the feminist movement, the position of women in traditional cinema, and feminist counter-cinema practices are discussed. In the analysis part of the study, four films of Agnes Varda, Cléo de 5 a 7 (1962), Le Bonheur (1965), L'une chante l'autre pas (1977), Sans toit ni loi (1985) were analyzed in the context of feminist counter cinema. Keywords: Femininity, Feminism, Feminist Counter-Cinema, Agnes Varda