| French New Wave | |
|---|---|
Jean-Luc Godard's New Wave film Breathless (1960) |
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| Years active | 1950–present 1958 - 1964 ("New Wave era") |
| Country | France |
| Major figures | André Bazin, Jean-Luc Godard, François Truffaut, Éric Rohmer, Claude Chabrol, Jacques Rivette, Agnès Varda, Jacques Demy |
| Influences | Italian Neorealism,[1] classical Hollywood cinema,[1] poetic realism, Auteur theory, Parisian cinephile culture, existentialism, Alfred Hitchcock |
| Influenced | L.A. Rebellion, New Hollywood, New German Cinema |
The New Wave (French: La Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism[1] and classical Hollywood cinema.[1] Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema.[2] Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary type style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. [3]
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Alexandre Astruc's manifesto, "The Birth of a New Avant-Garde: The Camera-Stylo." This article appeared in L'Ecran, on March 30, 1948. This is one of thirty essays devoted to the cinema during this period, and this article specficallly outlines some of the ideas that are later expanded upon by Francois Truffaut and the Cahiers du Cinema. It begins to argue that 'cinema was in the process of becoming a new mean of expression on the same level as painting and the novel:' "a form in which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the "camera-stylo."[4]
Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the famous film magazine Cahiers du cinéma. Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called auteur theory. (The original French "La politique des auteurs", translated literally, as "The policy of authors".) Cahiers du cinéma writers critiqued the classic "Tradition of Quality" style of French Cinema. Notable among these was François Truffaut in his manifesto-like article "Une Certaine tendance du cinéma français". Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. These men of cinema valued the expression of the director's personal vision in both the film's style and script.[5]
Truffaut also credits the American director, Morris Engel and his film "Little Fugitive" with helping to start the French New Wave, when he said "Our French New Wave would never have come into being, if it hadn't been for the young American Morris Engel who showed us the way to independent production with (this) fine movie."
The auteur theory holds that the director is the "author" of his movies, with a personal signature visible from film to film. They praised movies by Jean Renoir and Jean Vigo, and made then-radical cases for the artistic distinction and greatness of Hollywood studio directors such as Orson Welles, John Ford, Alfred Hitchcock and Nicholas Ray. The beginning of the New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves.
Apart from the role that films by Jean Rouch have played in the movement, Chabrol's Le Beau Serge (1958) is traditionally (but debatably) credited as the first New Wave feature. Truffaut, with The 400 Blows (1959) and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish. Part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification.
The auteurs of this era owe their popularity to the support they received with their youthful audience. Most of these directors were born in the 1930's and grew up in Paris; relating much to how their viewers were experiencing life. With high concentration in fashion, urban professional life, and all-night parties, the life of France's youth was being exquisitely captured.[6]
French New Wave was popular roughly between 1958 and 1964, although New Wave work existed as late as 1973. The socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to fall back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novellic structures), criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French "cinema of quality", the type of high-minded, literary period films held in esteem at French film festivals, often regarded as "untouchable" by criticism.
New Wave critics and directors studied the work of western classics and applied new avant garde stylistic direction. The low-budget approach helped filmmakers get at the essential art form and find what was, to them, a much more comfortable and honest form of production. Charlie Chaplin, Alfred Hitchcock, Orson Welles, Howard Hawks, John Ford, and many other forward-thinking film directors were held up in admiration while standard Hollywood films bound by traditional narrative flow were strongly criticized.
Many of the directors associated with the new wave continued to make films into the 21st century.[7]
The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Week End). Also, these movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence.
Many of the French New Wave films were produced on tight budgets; often shot in a friend's apartment or yard, using the director's friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots). The cost of film was also a major concern; thus, efforts to save film turned into stylistic innovations. For example, in Jean-Luc Godard's Breathless (À bout de souffle), after being told the film was too long and he must cut it down to one hour and a half he decided (on the suggestion of Jean-Pierre Melville) to remove several scenes from the feature using jump cuts, as they were filmed in one long take. Parts that didn't work were simply cut from the middle of the take, a practical decision and also a purposeful stylistic one.[8]
The cinematic stylings of French New Wave brought a fresh look to cinema with improvised dialogue, rapid changes of scene, and shots that go beyond the common 180° axis. The camera was used not to mesmerize the audience with elaborate narrative and illusory images, but to play with the expectations of cinema. The techniques used to shock and awe the audience out of submission and were so bold and direct that Jean-Luc Godard has been accused of having contempt for his audience. His stylistic approach can be seen as a desperate struggle against the mainstream cinema of the time, or a degrading attack on the viewer's naivety. Either way, the challenging awareness represented by this movement remains in cinema today. Effects that now seem either trite or commonplace, such as a character stepping out of their role in order to address the audience directly, were radically innovative at the time.
Classic French cinema adhered to the principles of strong narrative, creating what Godard described as an oppressive and deterministic aesthetic of plot. In contrast, New Wave filmmakers made no attempts to suspend the viewer's disbelief; in fact, they took steps to constantly remind the viewer that a film is just a sequence of moving images, no matter how clever the use of light and shadow. The result is a set of oddly disjointed scenes without attempt at unity; or an actor whose character changes from one scene to the next; or sets in which onlookers accidentally make their way onto camera along with extras, who in fact were hired to do just the same.
At the heart of New Wave technique is the issue of money and production value. In the context of social and economic troubles of a post-World War II France, filmmakers sought low-budget alternatives to the usual production methods. Half necessity and half vision, New Wave directors used all that they had available to channel their artistic visions directly to the theatre.
Finally, the French New Wave, as the European modern Cinema, is focused on the technique as style itself. A French New Wave film-maker is first of all an author who shows in its film his own eye on the world. [9] On the other hand the film as the object of knowledge challenges the usual transitivity on which all the other cinema was based, "undoing its cornerstones: space and time continuity, narrative and grammatical logics, the self-evidence of the represented worlds." In this way the film-maker passes "the essay attitude, thinking - in a novelist way - on his own way to do essays." [10]
The Left Bank, or Rive Gauche, group is a contingent of filmmakers associated with the French New Wave, first identified as such by Richard Roud.[11] The corresponding "right bank" group is constituted of the more famous and financially successful New Wave directors associated with Cahiers du Cinéma (Claude Chabrol, François Truffaut, and Jean-Luc Godard).[11]. Unlike the Cahiers these directors were older and less movie-crazed. They tended to see cinema akin to other arts, such as literature. However they were similar to the New Wave directors in that they practiced cinematic modernism. Their emergence also came in the 1950's also benefited from the youthful audience. [12] The two groups, however, were not in opposition; Cahiers du Cinéma advocated Left Bank cinema.[13]
Left Bank directors include Chris Marker, Alain Resnais, and Agnès Varda.[11] Roud described a distinctive "fondness for a kind of Bohemian life and an impatience with the conformity of the Right Bank, a high degree of involvement in literature and the plastic arts, and a consequent interest in experimental filmmaking", as well as an identification with the political left.[11] The filmmakers tended to collaborate with one another.[13] Jean-Pierre Melville, Alain Robbe-Grillet, and Marguerite Duras are also associated with the group.[14] The nouveau roman movement in literature was also a strong element of the Left Bank style, with authors contributing to many of the films. Left Bank films include La Pointe Courte, Hiroshima mon amour, La jetée, Last Year at Marienbad, and Trans-Europ-Express.
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