The Fr ench N W              ew aveAM 75180-5 2012-13
Ai m of Today’s Lect ur e          s• W i s a N W i n C nem   hat     ew ave  i   a?• W w e t he or i gi ns of t he Fr enc...
W i s a N W i n C nem hat     ew ave  i   a?AN W i s a m    ew ave             ovem i n ci nem w ch                       ...
O i gi ns of t he Fr ench nouvel l e r                vague• D t o t he N   ue            azi occupat i on of Fr ance, Am ...
C er s du C ném ahi       i   a   I n Apr i l 1951, t he f i r st i ssue of C er s du C ném                               ...
The D r ect or ’s C nem             i             i   aAndr e Bazi n f i r m y bel i eved i n eval uat i ng               ...
Al exandr e Ast r uc - C er a st yl o                          am                (1948)• ‘The ci nem i s qui t e si m y be...
The Aut eur Theor yAst r uc’s w i t i ng w pi cked up on by Fr ancoi s Tr uf f aut , w i n              r         as      ...
Tr uf f aut on C nem                                   i   a•   "For som cr i t i cs, t her e ar e good and bad           ...
The Aut eur Theor y and The              nouvel l e vagueW Tr uf f aut t ur ned t o f i l m aki ng, he nat ur al l y t r i...
Key D r ect or s                               iFr ancoi s Tr uf f aut             C aude C                               ...
St yl i st i c Tendenci esA gener al di sr egar d f or m (but not al l )                               anyof t he pr i nci...
St yl i st i c Tendenci esAl l of t hi s am ount s t o a f i l mst yl e w ch                                              ...
w .crht t p://w w i t i cal com ons.or g/M ber s/                          m           emogaycken/cl i ps/br eat hl ess-j ...
N r at i ve                           ar• M e per sonal , aut obi ogr aphi cal pl ot s. For exam e,    or                 ...
w .yout ube.com at ch?v=XnyR G• ht t p://w w             /w           KR  H ZE   w
W w t he nouvel l e vague       hy as             i m t ant ?                por• Pr esent ed a cl ear al t er nat i ve t ...
The french new wave
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The french new wave

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The french new wave

  1. 1. The Fr ench N W ew aveAM 75180-5 2012-13
  2. 2. Ai m of Today’s Lect ur e s• W i s a N W i n C nem hat ew ave i a?• W w e t he or i gi ns of t he Fr ench N hat er ew Wave?• W w e t he i deol ogi cal pr i nci pl es hat er behi nd t he nouvel l e vague?• W w e t he def i ni ng f eat ur es of hat er nouvel l e vague f i l m?
  3. 3. W i s a N W i n C nem hat ew ave i a?AN W i s a m ew ave ovem i n ci nem w ch ent a hiseeks t o st yl i st i cal l y and nar r at i vel ydi f f er ent i at e i t sel f f r omt he dom nant ipar adi gmof m nst r eamf i l mpr oduct i on. aiUsual l y, t he peopl e dr i vi ng t he m ovement ar e young and ar e dr i ven by an i deol ogi cal /pol i t i cal i m at i ve. per
  4. 4. O i gi ns of t he Fr ench nouvel l e r vague• D t o t he N ue azi occupat i on of Fr ance, Am i can er ci nem had been banned dur i ng W l d W I I . a or ar Af t er t he w , r est r i ct i ons w e l i f t ed and ar er H l yw ol ood pr oduct f l ooded t he Fr ench m ket . ar• Fear i ng t hat t her e w l i t t l e exhi bi t i on space as f or al t er nat i ves t o H l yw ol ood, Andr e Bazi n est abl i shed a num of ci necl ubs i n w ch he ber hi w d scr een non-H l yw oul ol ood, non-com er ci al m f i l m O her l i ke-m nded peopl e began t o do t he s. t i sam and an under gr ound m e, ovem w bor n. ent as• The scr eeni ngs w e or gani sed and at t ended by er peopl e l i ke Jean-Luc Godar d and Fr ancoi s Tr uf f aut w w d go on t o be l eadi ng f i gur es ho oul ew ave ovem . i n t he Fr ench N W m ent
  5. 5. C er s du C ném ahi i a I n Apr i l 1951, t he f i r st i ssue of C er s du C ném ahi i a (N es on C nem w publ i shed. C C w headed by ot i a) as D as Bazi n, Jacques D onoi l -Val cr oze and Joseph M i e Lo- ar D uca. The m agazi ne ai m t o r est or e Fr ench ci nem t o ed a pr om nence, as w l as t o di scuss al l f i l mw t h t he i el i sam ki nd of i nt el l ect ual cont ext w ch ot her ar t e hi f or m w e t r eat ed w t h. s er i C C w d onl y w i t e about new f i l m and f avour ed D oul r s, l ooki ng at i ndependent f i l m over st udi o s pr oduct i ons. Fr omi t s i ncept i on, f ut ur e and cur r ent f i l m aker s m w e heavi l y i nvol ved i n t he m er agazi ne. Er i c R er ohm ser ves as C C i ni t i al edi t or , and Tr uf f aut , G D ’s odar d and Jacques R vet t e w e am i er ongst t hose w w ot e ho r f or i t .
  6. 6. The D r ect or ’s C nem i i aAndr e Bazi n f i r m y bel i eved i n eval uat i ng la f i l mt hr ough t he pr i smof t he di r ect or .As such, C C const ant l y i nt er vi ew D edf i l m aker s, and est abl i shed a canon of mdi r ect or s w t hey bel i eved t o be above hot he cor por at e m achi nat i ons of st udi of i l m aki ng. These nam i ncl uded Jean m esR enoi r (Fr ance), Kenj i M zoguchi (Japan) iand Al f r ed H t chcock (Am i ca). i er
  7. 7. Al exandr e Ast r uc - C er a st yl o am (1948)• ‘The ci nem i s qui t e si m y becom ng a m a pl i eans of expr essi on, j ust as al l t he ar t s have been bef or e i t , and i n par t i cul ar pai nt i ng and t he novel .’• ‘Af t er havi ng been a successf ul f ai r gr ound at t r act i on, an am usem anal ogous t o boul evar d ent t heat r e, or a m eans of pr eser vi ng t he i m ages of an er a, i t i s gr adual l y becom ng a l anguage.’ i• ‘By l anguage I m a f or mi n w ch and by w ch an ean hi hi ar t i st can expr ess hi s t hought s, how ever abst r act t hey m be, or t r ansl at e hi s obsessi ons exact l y as ay he does i n a cont em ar y essay or novel .’ por• ‘That i s w I w d l i ke t o cal l t hi s new age of hy oul ci nem t he age of caméra-st yl o.’ a
  8. 8. The Aut eur Theor yAst r uc’s w i t i ng w pi cked up on by Fr ancoi s Tr uf f aut , w i n r as hoa 1954 ar t i cl e at t acked t he per cept i on of Fr ench st udi oci nem as bei ng a ‘qual i t y’ ci nem Tr uf f aut bel i eved t hat t oo a a.m of a pr em umhad pr evi ousl y been pl aced on t he uch iscr eenw i t er , r at her t han t he f i l m aker . H pr oposed l a r m epol i t i que des Aut eur s, w ch val ued a di r ect or ’s per sonal hist yl i st i c and nar r at i ve cont r i but i ons t o a f i l mover al lel se. Fi l m aker s w achi eved t hi s w e aut eur s, and t hose m ho erw adher ed t o gener i c convent i ons w e l abel l ed as m t eur ho er etun scene – l i t er al l y, a st age set t er .Thi s w a hugel y i nf l uent i al m of t hought , and m ot her as ode anyC C w i t er s f ol l ow Tr uf f aut ’s l ead i n l ooki ng at ci nem D r ed af r omt hi s per spect i ve. Bazi n, on t he ot her hand, sur pr i si ngl yat t acked Tr uf f aut f or i gnor i ng t he hi st or i cal , soci al andi ndust r i al f act or s i nvol ved i n f i l mpr oduct i on and f orsi m i st i cal l y assum ng t hat a di r ect or al one w pl i asr esponsi bl e f or a f i l m .
  9. 9. Tr uf f aut on C nem i a• "For som cr i t i cs, t her e ar e good and bad e f i l m w eas m i dea w t hat t her e ar e no s, her y as good or bad f i l m but good or bad s, di r ect or s. A bad di r ect or m gi ve t he ay i m essi on of bei ng good f or havi ng had t he pr l uck of count i ng on a good scr i pt , or t al ent ed act or s… how ever , t hi s ‘good’ f i l m w d have no val ue f or t he cr i t i c, f or i t oul i s t he r esul t of chance, som hi ng et or i gi nat ed by ci r cum ances. O t he ot her st n hand, a good f i l m aker can m a ‘bad’ f i l m m ake due t o adver se ci r cum ances, and st never t hel ess t hi s f i l mw d be m e oul or i nt er est i ng t o t he cr i t i c’s eye t han a ‘good’ f i l mm by a bad di r ect or . ade Fur t her m e, i n a si m l ar w – and si nce or i ay t he concept of success or f ai l ur e has no i m t ance w soever – w por hat hat m t er s i n a at good f i l m aker ’s car eer i s t hat i t r ef l ect s m hi s t hought , f r omt he begi nni ng of hi s car eer t o hi s m ur i t y. Each one of hi s at f i l m m ks a st age of hi s t hought s, and i t s ar does not m t er at al l i f t he f i l mi s a at success or a f ai l ur e.”
  10. 10. The Aut eur Theor y and The nouvel l e vagueW Tr uf f aut t ur ned t o f i l m aki ng, he nat ur al l y t r i ed hen mt o m hi s f i l m as per sonal /aut er i st as possi bl e. ake sO her cont em ar i es f ol l ow sui t , and t hi s l oose t por edm ovem becom w ent e hat i s now know as t he nouvel l e vague. nThese f i l m w e shot by gr oups of f r i ends on a l ow s er -budget usi ng new y avai l abl e, cheaper cam as. l erTr uf f aut def i ned t he m ber s as shar i ng not hi ng i n emcom on but t hei r r ej ect i on of t he excess of m nst r eam m aici nem a.
  11. 11. Key D r ect or s iFr ancoi s Tr uf f aut C aude C l habr ol Jean-Luc Godar d Jacques R vet t e i Er i c R er ohm
  12. 12. St yl i st i c Tendenci esA gener al di sr egar d f or m (but not al l ) anyof t he pr i nci pl es of cont i nui t y edi t i ng.The f i l m f eat ur ed t echni ques such as: s• Jum cut s r at her t han eyel i ne m ches p at• Br eaki ng t he 180 degr ee r ul e• A heavy r el i ance on l i ght er , handhel d cam as r at her t han st aged, st at i c shot s er• Ext r em y l ong t akes, as opposed t o t he el qui ck cut s of C assi cal H l yw l ol ood• Fi l m on l ocat i on r at her t han st udi o. ed
  13. 13. St yl i st i c Tendenci esAl l of t hi s am ount s t o a f i l mst yl e w ch hidoes not at t em t o conceal t hat t he ptvi ew i s w chi ng a f i l m I n f act , i t er at .of t en seeks t o act i vel y r em nd t hemof it hi s f act .N r at i ve i s subser vi ent t o per sonal arst yl e r at her t han vi ce ver sa.
  14. 14. w .crht t p://w w i t i cal com ons.or g/M ber s/ m emogaycken/cl i ps/br eat hl ess-j ump-cut s.m p4/vi ew w .yout ube.com at ch?v=D BJWht t p://w w /w Xbm nV0w &nor edi r ect =1
  15. 15. N r at i ve ar• M e per sonal , aut obi ogr aphi cal pl ot s. For exam e, or pl Tr uf f aut ’s The 400 Bl ow (Les Q r e C s C s uat ent oups, 1959) w m l y based on hi s ear l y chi l dhood. As such, nar r at i ve as ost t hem t ended t o be br oad – l ove, desi r e, f r i endshi p, es quest i oni ng of one’s pl ace i n t he w l d – r at her t han or gener i c.• A concer n w t h t he si t uat i on of t he com on m – bor n out i m an of t he l ef t -w ng pol i t i cs of m of t he f i l m aker s. i ost m• Som i m over t l y pol i t i cal – G et es odar d’s The Li t t l e Sol di er (Le Pet i t Sol dad, 1961) w banned i n Fr ance f or t w year s as o because of i t s at t i t ude t o t he Al ger i an r esi st ance m ovem .ent• U esol ved endi ngs – of t en no nar r at i ve cl osur e, or nr r esol ut i on t o t he ‘pr obl em – i f t her e even i s one at al l . ’• Som i m t her e w d be no scr i pt , onl y a l oose set of et es oul i deas, and cer t ai nl y w i t t en di al ogue w not adher ed as r as st r i ct l y as m nst r eamf i l mpr oduct i ons. ai
  16. 16. w .yout ube.com at ch?v=XnyR G• ht t p://w w /w KR H ZE w
  17. 17. W w t he nouvel l e vague hy as i m t ant ? por• Pr esent ed a cl ear al t er nat i ve t o H l yw ol ood, est abl i shi ng t hat not al l f i l ms needed t o be m i n a uni f or mf ashi on. ade• I nf l uenced ot her N W ew aves (Japanese, C zech, Thai , Br i t i sh) and cont i nues t o be a r ef er ence poi nt f or l ef t w ng and ar t i ci nem t oday. a• H a t heor et i cal under pi nni ng w ch ad hi r em ns i nf l uent i al i n Fi l mSt udi es t o ai t hi s day – aut eur t heor y, i nt el l ect ual di scussi on of f i l mas a l egi t i m e ar t at f or m .

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