摘要：This essay examines the emergence of paparazzi photography at the Cannes Film Festival in the 1950s and 1960s. It argues that the festival offered unparalleled and spontaneous access to celebrities that eventually became the stock and trade of this type of photojournalism. It also makes an explicit connection between the photographic style and the emergence of the New Wave in film. If, once, glamour photography developed inside the highly contrived world of the studios, which had sustained its artificiality, the New Wave’s ‘natural style’ matched and was reinforced by the paparazzi culture of Cannes.
