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New Wave Cinema

New Wave Cinema. Film Realism and Formalism. Table of Contents. 1) Nouvelle vague 2) Nouvelle vague’s contribution to film realism 3) Realism or Formalism?. Nouvelle vague. ‘New Wave’ Cinema

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New Wave Cinema

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  1. New Wave Cinema Film Realism and Formalism

  2. Table of Contents 1) Nouvelle vague 2) Nouvelle vague’s contribution to film realism 3) Realism or Formalism?

  3. Nouvelle vague • ‘New Wave’ Cinema • Films in the late 1950s and 1960s which are loosely linked by their self-conscious rejection of conventional filmmaking methods. • Radical experiments in narrative construction, mise-en-scène, montage, and subjects and themes (political)

  4. Nouvelle vague Jean-Luc Godard François Truffaut (1930- ) (1932-1984)

  5. Nouvelle vague Eric Rohmer Claude Chabrol (1920 - 2010) (1930 - 2010 )

  6. Nouvelle vague Jacques Rivette André Bazin (1928 - ) (1918 - 1958)

  7. Nouvelle vague Film journalists and critics for Cahiers du cinema a) Attacked the films of many master filmmakers of the day

  8. Nouvelle vague • Reappraisal of certain directors considered as outdated (Jean Renoir and Max Ophüls); • eccentric (Jacques Tati and Robert Bresson); • and unimportant and inartistic (Howard Hawks, Otto Preminger, Samuel Fuller, Nicholas Ray and Alfred Hitchcock). • CINEASTE - watched a huge number of films at Cinématèque française (Henri Langlois’s creation) and had a encyclopediac knowledge of world cinema.

  9. Nouvelle vague 1958 • Claude Chabrol’s Le Beau Serge • François comes back to his home village after a decade to find that his village hasn’t changed but his friend, Serge has.

  10. Nouvelle vague 1959 • François Truffaut’s Quatre cent coups (Four Hundred Blows) • Semi-autobiographical film about a boy who is neglected and misunderstood by his parents and teachers, skipping school, stealing a typewriter and being sent to institution

  11. Nouvelle vague 1960 • By this time, those young filmmakers had become a force to reckon with. • Jacques Rivette’s Paris, nous appartient (Paris Belongs to Us)

  12. Nouvelle vague • Jean-Luc Godard’s A Bout de souffle (Breathless) • A small-time thief, Michel Poiccart steals a car and murders a policeman. In the end, he is betrayed by his ambiguous girl Friend, Patricia.

  13. Nouvelle vague • Claude Chabrol’s Les Cousins • Charles comes to Paris to share an apartment with his decadent cousin, Paul. He falls love with Paul’s friend, Florence. Paul does not care much about a serious relationship and his cousin’s interest in his girlfriend.

  14. Contribution to Film Realism • CASUAL LOOK - the lack of tight narrative structure - ignoring technical conventions - the heavy reliance on improvisation

  15. Contribution to Film Realism • CASUALNESS → to give nouvelle vague films a great sense of presence = a significant instance of reality effects. • Reality looks more casual than well-structured. • The sense of presence similar to the one found in a live TV programme, a documentary film or an amateur film.

  16. Contribution to Film Realism • Hans Holbein Portrait of a Gentleman • Edouard Manet, The Balcony

  17. Contribution to Film Realism • Auguste Renoir, Dance at the Moulin de la Galette

  18. Contribution to Film Realism • ‘All artistic discoveries are discoveries not of likenesses but of equivalencies which enable us to see reality in terms of an image and an image in terms of reality.’ • E.H. Gombrich • ‘If you ask me what the world looks like to me, it looks like a painting by Pissarro.’ Ernst Gombrich

  19. Camille Pissaro, Boulevard des Italiens

  20. Contibution to Film Realism A) The lack of narrative structure: Truer to actual situations Unclear narrative goal - e.g. the protagonists drift aimlessly, start actions on the spur of the moment (Chabrol's Les Cousins, Rivette’s Paris, nous appartient) Improvisation - unpredictable / natural

  21. Contribution to Film Realism • Constant detours and digressions from the main gangster film narrative (Truffaut's Tirez sur le pianiste, Shootthe Piano Player, 1960)

  22. Contribution to Film Realism b) Unconventional mise-en-scène Location shooting and opposition to studio filmmaking: the influence of Neorealist filmmakers (Rivette's Paris Belongs to Us and almost all other Nouvelle vague films) http://www.youtube.com/watch?v=trxPuwQYRAk

  23. Contribution to Film Realism • Studio lighting was replaced by available light and some auxiliary sources. Filming without artificial lighting was made possible by the availability of fast film stock. • e.g. Quatre cents coups

  24. Contribution to Film Realism • Frequent and agile camera movements - panning and tracking by a hand-held camera or a light camera. • Eclaire camera (mainly used in documentary film - direct cinema)

  25. Contribution to Film Realism • The long tracking shot with a hand-held camera of Antoin Doinel in Quatre Cents Coups • Impressive stop-motion (formalist ending)

  26. Contribution to Film Realism • Hand-held elcaire camera captures Patricia and Michel walking along Champs Elysée • Passer-bys gaze at them and walk in front of the camera.

  27. Contribution to Film Realism • Claude Lelouche’s Un Homme et une femme (1966) • Images go occasionally out of focus or shot against light or the sun

  28. Contribution to Film Realism • François Truffaut’s Jules et Jim (1962) - encyclopedia of film techniques (freeze frame, wipe, masking, swish pan, the insertion of newsreel footage and still photos, etc.) • Casual composition and out of focus photography shot by zoom lens. • Film as play and joke (e.g.)

  29. Contribution to Film Realism • Significant influence on new American films in the 1960 and 70s • George Roy Hill’s Butch Cassidy and the Sundance Kid • Casual filmmaking - images go out of focus • Bicycle scene

  30. Contribution to Film Realism • Direct sound recording with noises not being erased • Eric Rohmer’s films

  31. Realism or Formalism? • Nouvelle vague filmmakers - self-conscious filmmakers • Do not hide that their films are disguised reality • They rather manifest that their films are ‘films’ - something artificially created and invented

  32. Realism or Formalism? • Films are created not only from imitating reality but also from referring to other films - a form of artifice • Films are not representations of reality but commentaries on the film and the process of filmmaking

  33. Realism or Formalism? • Jean-Luc Godard’s Pierrot le feu • Samuel Fuller’s cameo appearance commenting on filmmaking. • http://www.youtube.com/watch?v=ZPXV_Tm6iIw

  34. Realism or Formalism? • A film is made of quotations from other films. • A bout de souffle and Humphrey Bogart • Phillip Marlow in Big Sleepand Michel in A Bout de souffle

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