{"id":421,"date":"2019-01-28T17:34:48","date_gmt":"2019-01-28T17:34:48","guid":{"rendered":"https:\/\/220.jcdelama.info\/?page_id=421"},"modified":"2023-06-10T16:32:50","modified_gmt":"2023-06-10T16:32:50","slug":"nouvelle-vague","status":"publish","type":"page","link":"https:\/\/220.jcdelama.info\/?page_id=421","title":{"rendered":"Nouvelle Vague"},"content":{"rendered":"\n<div class=\"wp-block-genesis-blocks-gb-columns gb-slate-section-hero-title gpb-slate-section-hero-title gb-layout-columns-1 one-column gb-has-background-dim gb-has-background-dim-20 gb-background-cover gb-background-no-repeat gb-has-custom-background-color gb-has-custom-text-color gb-columns-center alignfull\" style=\"padding-top:5em;padding-right:1em;padding-bottom:5em;padding-left:1em;background-color:#1f1f1f;color:#f5f5f5;background-image:url(https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/tumblr_l9vzwdVsCv1qdhqx9o1_1280.jpg);background-position:47% 79%\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-1 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column\"><div class=\"gb-block-layout-column-inner\">\n<div class=\"wp-block-genesis-blocks-gb-columns gb-layout-columns-2 gb-2-col-wideleft gb-columns-center alignfull\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-8 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column gb-is-vertically-aligned-top\"><div class=\"gb-block-layout-column-inner\">\n<h2 class=\"has-text-color\" style=\"color:#f5f5f5;font-size:60px\">Nouvelle Vague<\/h2>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column gb-is-vertically-aligned-center\"><div class=\"gb-block-layout-column-inner\" style=\"margin-bottom:50px\">\n<p><\/p>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<h4>Readings:<\/h4>\n\n\n\n<ul><li><a rel=\"noreferrer noopener\" href=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/04\/14-LU10_Reading.pdf\" target=\"_blank\">Breathless<\/a><\/li><\/ul>\n\n\n\n<p>Mandatory movie for this learning unit:<\/p>\n\n\n\n<ul><li>Breathless (Jean-Luc Godard, 1960)<\/li><\/ul>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" width=\"1024\" height=\"768\" src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/tumblr_l9vzwdVsCv1qdhqx9o1_1280-1024x768.jpg\" alt=\"\" class=\"wp-image-422\" srcset=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/tumblr_l9vzwdVsCv1qdhqx9o1_1280.jpg 1024w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/tumblr_l9vzwdVsCv1qdhqx9o1_1280-300x225.jpg 300w, https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/tumblr_l9vzwdVsCv1qdhqx9o1_1280-768x576.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption><br>Last Year at Marienbad. Photo Courtesy Rialto Pictures.<\/figcaption><\/figure>\n\n\n\n<h1>Auteur<\/h1>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"220_7_1\" src=\"https:\/\/player.vimeo.com\/video\/835035249?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<ul><li>Roger Leenhardt and Andr\u00e9 Bazin (\u201crevue du cinema\u201d)<\/li><li>In 1951, Jacques Doniol-Valcroze founded the monthly magazine \u201cCahiers du cinema\u201d (cinema notebooks). <\/li><li>Andr\u00e9 Bazin immediately joined this magazine and became the guru of auteur cinema.<\/li><li>The directors we now associate to this movement (Eric Rohmer, Claude Chabrol, Jean Luc Godard, or Fran\u00e7ois Truffaut) started their career as film critics in this legendary magazine.<\/li><li>These younger film critics soon became more radical than their master Andr\u00e9 Bazin, who still recognized some classic Hollywood directors as auteurs, such as John Ford, Howard Hawks or Alfred Hitchcock.<\/li><li>They thought that we can just talk about auteur cinema when the same person write an original script and direct the movie.<\/li><li>Examples of authorship:<ul><li>Luis Bu\u00f1uel (1900 \u20131983)<\/li><li>Ingmar Bergman (1918 \u2013 2007)<\/li><li>Akira Kurosawa (1910 \u2013 1998)<\/li><li>Federico Fellini (1920 \u2013 1993)<\/li><li>Michelangelo Antonioni (1912 \u2013 2007)<\/li><li>Robert Bresson (1907 \u2013 1999)<\/li><li>Satyajit Ray (1921 \u2013 1992)<\/li><\/ul><\/li><\/ul>\n\n\n\n<h2>Nouvelle Vague &#8211; The New Wave<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"220_7_2\" src=\"https:\/\/player.vimeo.com\/video\/835037317?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<ul><li>We can circumscribe this term for the movies made in France in the decade between 1958 and 1968.<\/li><li>The Nouvelle Vague (New Wave) is a very intellectual and, frequently, politically oriented movement.<\/li><li>\u201cCamera Stylo\u201d principle (the Camera pen). The director is the only creator and he uses the camera like the writer uses his pen.<\/li><li>Therefore, they used<ul><li>light cameras, which allowed them to work without tripods,<\/li><li>reflex viewfinders that showed exactly what the lens saw,<\/li><li>highly sensitive photographic material, that allowed them to get reasonably good exposures with available light, and<\/li><li>direct sound.<\/li><\/ul><\/li><li>Another important innovation is the disrespect for the continuity.<\/li><li>The effect of discontinuity was a revolution because the intellectual and cultural elite of the 1960ies thought to recognize in it some fresh narrative air.<\/li><li> They tried to break the spellbound of fiction. <\/li><\/ul>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h1>Directors<\/h1>\n\n\n\n<h2>Fran\u00e7ois Truffaut (1932 \u2013 1983) <\/h2>\n\n\n\n<ul><li>Probably the most passionate of all film makers of this generation.<\/li><li>He was a cin\u00e9phile, a film lover, and had a very deep cinematographic culture. He venerated classic film makers as Alfred Hitchcock, Fritz Lang, Jean Renoir or John Ford.<\/li><li>He was the prot\u00e9g\u00e9 of Andr\u00e9 Bazin, and was a very controversial critic in Chaiers du cinema. A fanatic supporter of the author theory.<\/li><li>But Truffaut progressively took distance from the narrative experiments of his friends and his last movies are very conventional (and paradoxically did not have success either in the box office, or in the critiques).<\/li><li>He achieved huge reputation with his first feature films:<ul><li>Les quatre cents coups (The 400 Blows) in 1959, is considered the first full-length movie of the Nouvelle Vague.<\/li><\/ul><\/li><li>Other important movies during the nouvelle vague decade are:<ul><li>Tirez sur le pianiste (1960, Shoot The Pianist)<\/li><li>Jules et Jim (1962)<\/li><li>Fahrenheit 451 (1966), <\/li><li>La Sir\u00e8ne du Mississipi (1969, Mississippi Mermaid)<\/li><li>La nuit am\u00e9ricaine (1973, Day for Night).<\/li><\/ul><\/li><li>He died very young, in 1983, of the consequences of a brain tumor, but he had an extremely prolific and passionate career as producer, actor and director of almost 30 movies.<\/li><\/ul>\n\n\n\n<h2>Alain Resnais (1922 \u2013 2014 )<\/h2>\n\n\n\n<ul><li>He is the most cultivated and radical of all the nouvelle vague directors.<\/li><li>His movies are highly intellectual and shocking.<\/li><li>In his movies during the 60ies, Resnais experimented with all possible narrative means:<ul><li>He mixed real conversation, imaginary dialogues and thoughts in the sound track, thus it was difficult to know who was saying what.<\/li><li>In his movies, we see actually story action with documentary scenes.<\/li><li>He also used bold flashbacks with no evident transitions between different times<\/li><li>Resnais also blended real time, memory, fantasies and even dreams without defining the limits between then.<\/li><\/ul><\/li><li>His most famous movies are:<ul><li>Hiroshima mon amour (1959)<\/li><li>L\u2019ann\u00e9e derni\u00e8re \u00e0 Marienbad (1962, Last Year at Marienbad)<\/li><li>Mon oncle d\u2019Amerique (1980)<\/li><\/ul><\/li><\/ul>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_33012\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/VbWwrMzhT-A?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><figcaption>L\u2019ann\u00e9e derni\u00e8re \u00e0 Marienbad<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_32916\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/WWBxsGk-gKA?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><figcaption><em>L\u2019ann\u00e9e derni\u00e8re \u00e0 Marienbad<\/em><\/figcaption><\/figure>\n\n\n\n<h2>Jean-Luc Godard (1930 \u2013  ) <\/h2>\n\n\n\n<ul><li>The son of a very wealthy French-Swiss family.<\/li><li>Although he was born in Paris, he became a Swiss citizen during World War II to avoid enrollment<\/li><li>In 1952, he joined Cahiers du cinema, and started so his writing film criticism.<\/li><li>Godard was the most provocative of all the film makers of the nouvelle vague. He always tried to attack the establishment.<\/li><li>He soon understood that controversy brings success.<\/li><li>Stylistic elements in Godard\u2019s Films:<ul><li>Hand held camera work<\/li><li>Jerky editing<\/li><li>Fragmentary collage structure<\/li><\/ul><\/li><li>Some of his movies:<ul><li>\u00c0 bout de souffl\u00e9 (1960, Breathless)<\/li><li>Une femme e une femme (1961, A Woman Is A Woman)<\/li><li>Alphaville (1965)<\/li><li>Pierrot le fou (1965)<\/li><li>Week End (1967)<\/li><\/ul><\/li><li>During the 80ies he had no more creative energy and he just wanted to shock.<ul><li>Passion (1982) <\/li><li>Marie (1983)<\/li><li>Prenom Carmen (1983, First Name: Carmen) <\/li><\/ul><\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Readings: Breathless Mandatory movie for this learning unit: Breathless (Jean-Luc Godard, 1960) Auteur Roger Leenhardt and Andr\u00e9 Bazin (\u201crevue du cinema\u201d) In 1951, Jacques Doniol-Valcroze founded the monthly magazine \u201cCahiers du cinema\u201d (cinema notebooks). Andr\u00e9 Bazin immediately joined this magazine and became the guru of auteur cinema. The directors we now associate to this movement [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_genesis_hide_title":true,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":""},"featured_image_src":null,"featured_image_src_square":null,"_links":{"self":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/421"}],"collection":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=421"}],"version-history":[{"count":10,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/421\/revisions"}],"predecessor-version":[{"id":1202,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/421\/revisions\/1202"}],"wp:attachment":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}