1950’s New Wave Ayrton Mc Gurgan & Lee Chambers

Background  In the late 1950’s cinema was changing. New inventions brought about new waves.  Film attendance had declined, producers aimed at new audiences - the youth culture.

What is New Wave?  Formed by more youthful directors making feature films.  The goal was to shoot more current issues  They would often experiment with film

Techniques of New Wave  Use of portable camera  Direct cinema documentary  Jump cuts  Fragmentary, discontinues editing  Long takes  Objective realism  Flashbacks

The French New Wave  The French New Wave is largely responsible for the romantic image of young directors fighting to make personal films that defy the conventional industry.  Most of the directors were born around 1930 and were based in Paris.  The films have thematic affinities.  First group of directors to refer systematically to prior film traditions

Jean-Luc Godard  Breathless (1960) written and directed by Jean-Luc Godard is one of the most innovative films which launched the French New Wave film movement.  Godard, like other directors from the film movement started his film career writing as a film critic for the publication Cahiers du Cinema in Paris during the 1950s.

Breathless in the French New Wave  We will be covering this film and pointing out where the techniques of New Wave and Truffant’s manifesto have been used Reference: 

Important of the camera  The guidelines of this manifesto emphasised the important of the camera. These camera should be lightweight and hand-held to allow the camera to move around with the actors in a scene.  Examples:  Portable camera 1 (11:00)  Portable camera 2 (13:13)  Shaky camera (24:16)

Nauralistic  Films should be made in the real world in naturalistic settings rather than in an artificial studio  Real sets (7.00)  Direct camera documentary (01.06)  Close ups (31.26)

Objective realism  They thought films should be self-conscious and thought provoking so the audience would be made think about the film. To do this directors combined objective realism, subjective realism and authorial commentary in ways that generated narrative ambiguity.  Examples:  Open ended narrative (01.24)  Self reflective (2:48)

Break the rules  Lastly it thought films should be about individuals who break the rules. Characters and filmmakers.  Fragmentary, discontinuous editing/jump cuts (3:30)  Long takes (32.00)

Influence of Melville/Noir  These young film critics had good knowledge of film traditions and history being part of cine-clubs which hosted film screenings and discussions which influenced their films. French film director, Melville created the biggest impression on these young filmmakers.  Hollywood film noir was also a heavy influence on these young critics.

Theme  Existential philosophy, the freedom to make choices based on free will was also a major influence on the new wave

Summary  In summary, Breathless was recognisably new wave in its handheld camerawork, jerky editing and homages to Melville.  Godard’s work poses fundamental questions about narrative.  He juxtaposes staged scene with documentary material with little connection to the narrative.  He mixes conventions drawn from pop culture such as detective novels or Hollywood movies with references to philosophy or avant-garde art.