French New Wave Essays

  • The French New Wave: A Film Movement In The 1960's

    1712 Words  | 7 Pages

    The French New Wave was a film movement in the 1950’ and 60’s that consisted of an explosion of new film techniques, values, and styles that became a defining moment of cinematic innovation that’s impact is still present in the modern film industry. An influx of new, young directors sought to narratively, ideologically and stylistically veer off from the dominant, traditional mainstream cinema production standards and redefine the French film industry. The movement didn’t happen overnight and its

  • French New Wave Films Analysis

    1480 Words  | 6 Pages

    mirror of the society at that time. The French society from the mid 1950s to the mid 1960s was the time when the postwar modernization for France had begun. During this time period there were many values that the society reflected and various cultures that were embedded into the people’s lives. Nevertheless, in this paper, two of the social aspects during the period of the mid 1950s until the mid 1960s will be discussed through three of the French New Wave films; Breathless (À bout de souffle), Cléo

  • French New Wave Film Analysis: Breathless

    981 Words  | 4 Pages

    7.0 ANALYSIS OF TWO FRENCH NEW WAVE FILMS 7.1 A BOUT DE SOUFFLÉ - 1960 This classic film was directed by famous French New Wave filmmaker, Jean-Luc Godard in 1960, this is one of the film which most impudent debuts in film record. The storyline is regarding a young criminal Michel who steals a car in Marseille and murdered a policeman rashly. He has been wanted by the authorities, but he mats a hip American journalist student in the capital. The girl agrees to help to hide him after he tried to persuade

  • Agnes Varda Film Analysis

    1631 Words  | 7 Pages

    Auteur Filmmaker The French New Wave, a sensational shift that marked the history of cinema in the late 1950s and early 1960s, has engendered an array of film theories as well as criticism. Despite its ambiguity as a coherent movement, the New Wave films “share connections, a common essence which is nothing less than their notion of mise-en-scène, or a filmic écriture, based on share principles…One recognizes a nouvelle vague film by its style.” In a nutshell, the New Wave films are characterized

  • Individuality In Harrison Bergeron

    979 Words  | 4 Pages

    Aristotle once said, “The worst form of inequality, is trying to make unequal things equal.” A major example of this concept of inequality displays itself through humans. Although people may seem similar and equal, each personality and talent differs from one another. Now one might wonder what it would be like if every single person were truly equal. This theme is developed in the short story “Harrison Bergeron” by Kurt Vonnegut, and also in the film 2081 directed by Chandler Tuttle. Tuttle’s film

  • Auteur Theory: Francois Truffaut

    1283 Words  | 6 Pages

    originated from French after Andre Bazin wrote an article in a French magazine called “Cashier du Cinema” (Cinema Notes), article entitled “On the Auteur Theory” (A Nose of Film, 2012). According to that article, the term auteur is means the director who can convey life through their film and that represented what they see and their personality (A Nose of Film, 2012). Then in 1954, Francois Truffaut wrote an article titled “Une Certain Tendance du Cinema Francais” (A Certain Tendency of French Cinema)

  • Is Reflexivity In Analyzing Ingmar Bergman's Persona?

    785 Words  | 4 Pages

    In this essay I aim to analyse Ingmar Bergman’s ‘Persona’ (1966) which tells the story of a star who stopped speaking, her nurse and identity to examine how form, how the film is put together and meaning, are integral to the film. Reflexivity in film is distinguished as a film that is self-aware. A film that is aware of the process that has been taken to produce a film, the illusion that is usually created in main stream cinema is not present instead the audience are made aware that the film is

  • Auteur Theory Analysis

    1200 Words  | 5 Pages

    Wong Lok Yi 14206900 Auteur Theory and Wong Kar-Wai’s Films Auteur theory emerged in France in the late 1940s from the theory suggested by two French film critics, who are André Bazin and Alexandre Astruc. After that, it was advocated by a film director called Francois Truffaut in 1954. 1 He suggests that a good director exert a unique style or promotes such a consonant film theme that his or her influence is unmistakable in the body of his or her work. In 1962, Andrew Sarris, an American film

  • Cinema In 1960s

    697 Words  | 3 Pages

    useful as historical evidence. The cultural and political changes of the 1960s brought the United States closer to social revolution than at any other time in the twentieth century. Simultaneously, the American cinema went through a radical change. A new ratings system replaced the Production code and the studios system fell, giving rise to runaway

  • Annie Hall Hollywood Legend

    679 Words  | 3 Pages

    In the New Deal era, the attitude of many New York modernist intellectuals toward Hollywood was certainly ambiguous and largely unscathed by what Andreas Huyssen has called the contemporary “anxiety of contamination” between “high and low,” mass culture and

  • Changeling Film Analysis

    1545 Words  | 7 Pages

    Changeling is a 2008 film based on an old American crime story called the “Wineville Chicken Coop Murders,” directed by auteur director, Clint Eastwood. In the film, Angelina Jolie plays the main role of 1920s single mother, Christine Collins, who relentlessly pursues the search of her son, once he is discovered to be missing. Reinterpreting the true story, Eastwood takes the audience of the film on the search with Mrs. Collins, steering her to unfold the true corruption and abusive authority of

  • American Comedy Films Analysis

    2217 Words  | 9 Pages

    A Contrast of American and Italian Comedy Films Ari Mont IS 220 - Prof. Bini There is no prototypical film from any part of the world, let alone ones with such illustrious histories as the United States and Italy. Yet, because filmmaking is an art that is so dependent on borrowing cinematographic and writing styles from those nearby, it is inevitable that some patterns will emerge. This essay will take a look at two films from the same time and the same genre, one American and one Italian, to

  • Montage Movie Analysis

    1008 Words  | 5 Pages

    Montage is deemed to be a French transliteration of montage. It was originated from a French architectural term, and after being borrowed to apply on the clips and combination of films. In brief, montage is according to the content of the film wants to convey, and the audience 's psychological order, shoot a film respectively to be many clips, and then combine the clips in accordance with the original conception. The rise of the Soviet montage originated in 1924. In the Soviet Union in the 20th

  • Hitchcock's Use Of Mise-En-Scene In Film

    1506 Words  | 7 Pages

    “Mise-en-scene” is a French expression that was originally a theatrical term that refers to “staging” (Thompson & Bordwell 1999). When this term was transferred to film production, its practices involved the framing of the shots (Hayward 2000). According to Karam (2001), Mise-en-scene involves a choreographed set of visual elements that correspond to a set of ideas. Mise-en-scene involves the use of multiple elements that are used in a scene to create a certain mood or to influence the audience’s

  • An Auteur In Hitchcock's Psycho

    729 Words  | 3 Pages

    “If I made Cinderella, the audience would immediately be looking for a body in the coach.(Hitchcock).” An Auteur has full control over the movie and puts some of themselves into each movie they make. Francois Truffaut and Alfred Hitchcock were masters of this. Truffaut with his 400 Blows and Hitchcock with his Psycho. There is one very famous scene in 400 Blows that Truffaut made that was very different for his time. It is the last sequence of the movie. Jean escapes juvenile hall and we are led

  • Cinematographic Thinking Essay

    770 Words  | 4 Pages

    Cinematographic thinking starts at the iconic stage, but is by no means the totality or the fullness of it all. Pearce’s categorization of signs defined the iconic stage as that of perceived resemblance. Though Bazin would go to extremes to qualify cinema as a medium in which there is perfect and exact corellation between what is represented and its representation in film, it is important to note that every medium is characterized by some level of abstraction. Cinematrographic specificity should

  • John Cassavetes 'Faces': Film Analysis

    757 Words  | 4 Pages

    Cassavetes’s first film, Shadow, will be compared to his fourth film, Faces, to see development in Cassavetes’s approach in performance of character. Shadow is a film about interracial relations between African-American and white Americans in 1950’s New York, starring Ben Carruthers as Ben, Lelia Goldoni as Lelia and Hugh Hurd as Hugh, the only dark-skinned among three siblings. The film directed by John Cassavetes

  • Romeo And Juliet And The Great Gatsby Comparison

    1039 Words  | 5 Pages

    provide the audience with initial information they need to understand the rest of the story. Without this prologue the audience would spend majority of the film trying to fill in the missing pieces of the story. In Romeo and Juliet the prologue is the news presenter’s presentation followed by a montage of events of

  • Hearing Loss Case Study

    10382 Words  | 42 Pages

    INTRODUCTION N oise is acoustically made up of numerous sound waves with anarchically distributed amplitude and phase ratios, causing an unpleasant sensation1. Noise can be continuous - when there is no variation in terms of sound pressure nor sound spectrum; floating - when it presents variations in terms of acoustic energy in function of time; or impact noise - with acoustic energy peaks lasting for less than a second, at intervals greater than one second2. Impact noises are usually produced by

  • And Symbolism In Nathaniel Hawthorne's 'The Ocean'

    737 Words  | 3 Pages

    Have you ever swam in the ocean? Ever fought against the waves? Have you ever felt its intensity?? Oceans can be quite treacherous and rigid, but once you sink down beneath the water, all is calm and peaceful. In “The Ocean” by Nathaniel Hawthorne, he paints an image of this by illustrating the waters and the men at sea. Men at sea are represented by showing the journey they fought on the Ocean but how after they died they were at peace. By using symbolism, rhyme, and personification, Hawthorne develops