French New Wave
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| '''la Nouvelle Vague''') was a blanket term coined by critics for a group of [[Cinema of France|French filmmakers]] of the late [[1950s]] and [[1960s]], influenced (in part) by [[Italian Neorealism]]. 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]]. 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. | '''la Nouvelle Vague''') was a blanket term coined by critics for a group of [[Cinema of France|French filmmakers]] of the late [[1950s]] and [[1960s]], influenced (in part) by [[Italian Neorealism]]. 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]]. 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. | ||
| - | 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]]''. 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 surge of concepts which was later coined as the ''[[auteur theory]]''. It holds that the [[film director|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 [[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. Chabrol's ''[[Le Beau Serge]]'' (1958) is generally credited as the first New Wave feature. Truffaut, with ''[[The 400 Blows]]'' ([[1959]]) and Godard, with ''[[Breathless (1960 film)|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. Other directors active in the movement although not necessarily part of the core Cahiers contributors included [[Louis Malle]], [[Alain Resnais]], [[Agnès Varda]], [[Robert Bresson]], and [[Jacques Demy]].[http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [Apr 2007] | + | 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]]''. 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 surge of concepts which was later coined as the ''[[auteur theory]]''. It holds that the [[film director|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 [[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. Chabrol's ''[[Le Beau Serge]]'' (1958) is generally credited as the first New Wave feature. Truffaut, with ''[[The 400 Blows]]'' ([[1959]]) and Godard, with ''[[Breathless (1960 film)|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. Other directors active in the movement although not necessarily part of the core Cahiers contributors included [[Louis Malle]], [[Alain Resnais]], [[Agnès Varda]], [[Robert Bresson]], and [[Jacques Demy]].{{GFDL}} |
Revision as of 09:20, 3 July 2007
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la Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced (in part) by Italian Neorealism. 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. 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.
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. 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 surge of concepts which was later coined as the auteur theory. It 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 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. Chabrol's Le Beau Serge (1958) is generally 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. Other directors active in the movement although not necessarily part of the core Cahiers contributors included Louis Malle, Alain Resnais, Agnès Varda, Robert Bresson, and Jacques Demy.
