The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.

1. FRENCH NEW WAVE
AN INFLUENCE for MODERN CINEMA and ANIMATION
NGUYEN HONG NGOC MAI
14071 - Diploma Level 2, ANN3A

2. ABSTRACT
•• Define French New Wave origins and characteristics.
How it influence and change Hollywood cinema?
• Link the influence of French New Wave to Animation.
What is the problem with Animation today?
Difference between 2D Animation and today 3D Animation?
Suggestion for improvement?

3. TABLE OF CONTENT
1. Abstract
2. Introduction
3. Content:
• Historical Background
• Characteristics: Setting, Editing, Narrative, Auteur Theory
• Influence to Modern Cinema: Technical, Ideolology
4. Modern Animation: its problem
5. Summary

4. 1940 - 1944: Nazi occupied Paris

Shortage on petrol

Censorship, propaganda

Limited choice of movies, American film were banned
HISTORICAL BACKGROUND

5. HISTORICAL BACKGROUND
Jean-Luc Godard Eric Rohmer
Claude Chabrol
Jacques Rivette
Francois Truffaut
French New Wave (1958 - 1968):
• Influence by Italian Neo-realism realist of post-war economic and
moral conditions, their filming location and use non-professional actor.
• Reject the Classical Narrative Hollywood mainstream studio, which
diminish the individual style of director.

6. CHARACTERISTICS
Director: Jean-Luc Godard
À BOUT DE SOUFFLÉ (1960)
• One of the earliest and most influential of
French New Wave.
• A young man Michel (Jean Paul Belmondo)
steal a car in Marseille and shoot a police who
follow him on the country road. He hides at his
girlfriend' apartment Patricia (Jean Seberg)
and call in a loan to try escapes to Italy.
Patricia betrays him by telling the police. He
then been shot by the police and after a
prolonged death run,he dies "à bout de
soufflé".

7. LOW BUDGET
• Shoot on Location - Abandon studio
• Natural Light
• Natural Sound
• Handheld Camera
• No star-system
CHARACTERISTICS - Settings
Casual - Natural Look

8. FREE EDITING STYLE
• Jump cut, Long Take shot, Long Tracking Shot
• Monologue - Character talk directly to camera
CHARACTERISTICS - Editing

9. CHARACTERISTICS - Narrative
• Linear Structure
• Chronological Time
• Hero Protagonist
• Female character portrayed as eye-
candy or victim, passive, mostly
support for male hero character.
• Strong relate to script and screen-
writing
• Non Linear Structure
• No necessary sense of chronological
• Protagonist act immoraly, anti hero
• Female character were given strong
parts in movie, independent and active -
reshape the stereotype of femme fatale.
• Script often be written on spot, Actors
were encouraged to write their own lines,
talk like in real life.
FRENCH NEW WAVECLASSICAL NARRATIVE HOLLYWOOD

10. CHARACTERISTICS - Auteur theory
• 1st mentioned by Francois Truffaut in an essay entitled "A Certain Tendency
in French Cinema".
• Film should not be just for entertain, but it should be traited as a medium to
reflect the director's personal vision.
--> A good director is one who can stamp his individual personality
into his film.
--> Director should not limit himself in a strict artistic conduct, they should
experiment and tell the story in a unique way, reflect their vision,
no matter the film is well-received or not.

11. INFLUENCE - Technique
Reservoir Dogs (1992) - Quentin Tarantino
Long Tracking shot - Opening dinner scene
Long Take shot - Torture scene
• On location shooting
• Low Budget Filming

12. INFLUENCE - Ideology
• Encourage Film makers to not limit themselves and free up
cinema to come to its own as an art form, to sign their film
with their own personality and style.
• It is not necessary to have enormous budgets,
established actors to make a good movie. It is about the love
of making movie and all the effort, creativity and imagination.

13. INFLUENCE - Ideology

14. Summary
• Influence by Italian Neo-realism, Reject Classical Narrative Hollywood
• Characteristique:
_ Low budget (Shoot on location; Hand-held camera; Natural Light, sound;
no Star-system)
_ Free-editing style
_ Non-linear story struture; Non-chronological; Reshape the Male and
Female role.
• Auteur-theory: Emphasis the role and style of Director in Film-making,
encourage Directors to experiment and challenge themself.
• Influence: Without French New Wave, todays modern cinema cannot be so
free and interesting, with many creative director and film-crew that we love.

15. Animation: its problem

16. Animation: its problem

17. Animation: its problem

18. A good sign from Pixar
Paperman (2012)
Director: John Kahrs

19. Conclusion
• The style is define by studio, like the Classic Hollywood.
• Today it is now more difficult to define the style between studio.
• If we can apply the Ideology of French New Wave in Animation, give
more freedom for Director, mark the Animation with the style of
Director, not studio, we will have more interesting Animation Movies to
look forward to.

20. Bibliography
• Phil Powrie and Keuth Reader (2002), French Cinema Student's Guide, British
Library Cataloguing in Publication Data
• Mary P. Wood (2007), Contemporary European Cinema, Bloomsburry
Academic, London
• Thomas Elsaesser (2005), European Cinema Face to face with Hollywood,
Amsterdam niversity Press, Amsterdam
• Robert Sklar (1993), Film: An International History of the Medium, Harry N.
Abrams

21. Cite sources
• NewWaveFilm.com, S Hitchman/A McNett (2008-2013)
http://www.newwavefilm.com/new-wave-cinema-guide/nouvelle-vague-where-
to-start.shtml
• Francois Truffaut (1954), A Certain Tendency of the French Cinema, Cahiers
du Cinema
http://www.newwavefilm.com/about/a-certain-tendency-of-french-cinema-
truffaut.shtml
• French New Wave: The Influencing of the Influencers, Kristen Coates (2010)
http://thefilmstage.com/features/the-classroom-french-new-wave-the-
influencing-of-the-influencers/