- Home
- Courses
- History of Film
- History of Film: French New Wave
- French New Wave
- History of Film
- Pratt Institute
- National Film Academies
- Soviet Union
- All-Union State Institute of Cinematography
- Italy
- France
- International Film Festivals
- Venice (1932)
- Cannes (1946)
- Berlin (1951)
- San Francisco (1957)
- London (1957)
- Moscow (1959)
- New York (1963)
- Chicago (1965)
- Panama (1965)
- Brisbane (1966)
- Shiraz, Iran (1967)
- Awareness of the History of Film
- Cinémathèque Française, Paris
- National Film Theater, London
- Museum of Modern Art, New York
- Filmmaking Father Figures
- Jean Renoir in France
- Fritz Lang in Germany
- Alexander Dovzhenko in Soviet Union
- Alfred Hitchcock and Howard Hawks in Hollywood
- New Technologies
- smaller cameras
- reflex viewfinders
- faster film stock
- cheap, quick, more flexible
- New Wave Cinemas
- Italy
- Germany
- Soviet Union
- Eastern Europe
- Poland
- Czechoslovakia
- Yugoslavia
- Hungary
- Japan
- Great Britain’s “Kitchen Sink”
- cinematography
- influenced by Direct Cinema
- shooting from a distance
- using panning shots
- zoom lenses
- editing
- fragmentary discontinuous editing
- collage form
- plan sequence (sequence shot)
- narrative
- chance events that could not be fitted into a linear cause-and-effect
- non-professional actors
- real locations
- improvised performance
- flashbacks
- Centrality of directors
- objective realism
- subjective realism
- authorial commentary
- reflexivity
- self-referential
- internal realities of the film
- pointed to its own materials, structures, and history
- the making of a film within a film
- French film industry
- 1958: domestic film attendance declined significantly
- Centre National du Cinema (1953)
- subsidy (“prime de la qualité”)
- avance sur reciepts
- created new generation of filmmakers
- France’s New Generation
- apolitical culture of consumption and leisure
- read film journals
- attended cine-club screenings
- two filmmaking groups
- Nouvelle Vague
- Rive Gauche
- Cahiers du Cinema
- film critics
- Andre Bazin
- Claude Chabrol
- Éric Rohmer
- François Truffaut
- Jean-Luc Godard
- believed filmmakers should articulate a personal vision
- Nouvelle Vague of Filmmakers
- early films
- Le Beau Sarge (Claude Chabrol, 1958)
- Le Cousins (Claude Chabrol, 1959)
- 400 Blows (François Truffaut, 1959)
- Breathless (Jean Luc Godard, 1959)
- Venice Film Festival (1960)
- gained international prominence
- Financial constraints, Creative solutions
- shot on location
- portable film equipment
- little-known actors
- small crews
- individual filmmaking styles
- personal vision was essential
- Resonance with Young Audiences
- filmmakers born around 1930
- concentrated in Paris
- chic fashions
- sports cars
- hip nightlife
- distrust of authority
- suspicious of commitment
- featured femme fatale character
- reference to prior film traditions
- film history was a living presence
- Breathless hero imitates Humphrey Bogart
- 400 Blows stealing a production from a Bergman film
- Rive Gauche group
- older and less intense cinephiles
- cinema was like literature
- Alexandre Astruc: camera stylo
- experimental in formal style
- influenced by political left
- responsible for cinema verité movement
- Rive Gauche filmmakers
- Chris Marker
- Jacques Demi
- Alain Renais
- Agnès Varda
- Hiroshima Mon Amour
- Alain Renais
- juxtaposition of present with the past
- Cleo from 5 to 7
- Agnès Varda
- combines
- Left Bank formalism
- New Wave hipness