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Published byTyrone Thompson Modified over 9 years ago
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~1959 - 1964
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Apolitical – reflected new acceptance of leisure and consumption Government sponsored first time directors New generation of directors: - estb. romantic image of the young director fighting to make personal films that defy industry - many did become mainstream - yet some popularized a new concept in cinema AND provided innovations in film form and style FRANCE, LATE 1950S
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Main directors were film critics for the magazine Cahiers du Cinéma Studied, critiqued, wrote about film Strong advocates of the Auteur Theory - a film is the personal vision/ creative force of the director Helped each other by financing projects, sharing crew/professionals NEW WAVE DIRECTORS
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Astruc: “a filmmaker should use the camera as personally as a novelist uses a pen” Bazin: “the most distinctive nature of a movie was its form, not its content” CONTEMPORARY CRITICS ON FRENCH NEW WAVE:
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Movement more than a style - as director’s personal vision was valued - but some common characteristics… Shot on location Little-known actors and small crews Intimate Usually shot silent and post-dubbed Plots centered around chance events Directors referred to prior film traditions - aware of their debt to film history (ex of this and auteur, *)ex of this and auteur* CHARACTERISTICS
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Filmmakers' appeal with young audiences Based in Paris - chic fashion/cars, all-night parties, bars, jazz clubs… Themes: authority to be distrusted; political commitment is suspect; the femme fatale Open-ended narrative - ending of 400 Blows (freeze frame technique a favored device for expressing an unresolved situation) POPULARITY
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Jean-Luc Godard Breathless (À bout de souffle) DIRECTORS François Truffaut 400 Blows ( Les quatre cents coups)
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Meaning: to raise hell, live a wild life, sow one's wild oats Literal translation: to do the four hundred tricks 1959 Bogdanovich Article THE 400 BLOWS
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