Film makers are constantly try
Film makers are constantly trying to find new ways to tell stories discuss this contention with light of you're learning on the French new wave. The French new wave or nouvelle vague refers to a group of French film makers from the period 1958 to 1964. They included Jean luc Goddard, Truffaut, Chabrol, Malle and Resnais who all originated as critics for the magazine cahiers du cinema and they strove to create a new kind of liberal and innovative French cinema. The Back ground to the new wave was particularly influential, it was post war and during the war France was occupied by the Nazis and there had been a significant suppression of culture including films. When the war had finished there was a huge surge of American Hollywood films into France and these films subsequently had a great influence on the directors that were going to make up the new wave. Post war there was also modernisation of industry, importantly lighter cameras were designed which greatly aided the filmed on location films that emerged during the new wave. The films before the new wave greatly influenced the film makers in the kind of films they wanted to create. Costume dramas and literary adaptations were prominent in the film industry at tha
These were all very new and original ways of shooting a film and often had not been seen before. Since the glitzy musicals and impersonal costume dramas of the 50's they made cinema personal, Truffauts films were particularly autobiographical Les Quatres Cent Coup was base around much of his own early life. They were so disheartened with the films they were seeing hey thought they could do better. Although the films did tae a lot of influence for their work from directors before them, there is no question that the French new wave directors set out to make films in different ways and there is no doubt that thy achieved their goal. Cameras were lightweight and handheld they were used in very innovative ways, following the characters down the street with fluid tracking shots and placing the camera in places the audience could never imagine getting view from. Noir influences are also obvious, the male protagonist doomed and then finally being turned into the police by the woman he loves. In A bout De souffle can be descried as an homage to the American 'B' movies. The characters of the films often represent this kind of attitude loners with no family ties, anti authoritarian and seemingly no morals. When the government brought in subsidiaries the critics finally got the chance to become auteurs themselves and the initially worked together to produce a distinct form of style, narrative and tone. They also admired certain Hollywood directors, for example, Alfred Hitchcock, Nicholas Ray and Howard Hawks, who they saw as auteurs. The existentialist try's to make his own way in the world not following the rules society lies down for them. During this time a philosophy was evolving in France which was existentialism, this revolved around the idea of free choice and a lack of understanding in the universe. So within their film making we see obvious rejection of their predecessors and instead their films are full of references to the films and directors they feel are great including the work of 1930s French film-makers Jean Renoir and Jean Vigo and the work of the Italian neo-realists, including Roberto Rossellini and Vittorio De Sica. Although this was a new wave there is much evidence of American influences in the films of the new wave especially from the typical gangster film of the time. The thriller genre is also noticeable in Bande A Part with the themes of guns, cars and long drawn out deaths used throughout.
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