French New Wave Essay Draft

Introduction

The French New Wave was an artistic movement in the film making industry, that lasted between the years 1959-1964 The French New Wave was a self-aware movements based around a rejection against the trends of traditionally Hollywood-styled film. In its own sense, the French New Wave movement was an innovative project, who's influence on worldwide film over the past decades has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, and has been admired as a 'cinematic revoltution'.

Origin

The French New Wave movement's origin seem to stem from Alexandre Astruc's 1948 publication from L'Écran Français; titled 'The Birth of a New Avant-Garde: La Caméra-Stylo'. Alexandre Astruc; a French film director and critic, was fundamental to the movement's progress, it was his ideologies and beliefs that would be later be expanded by fellow film maker/critic 'François Truffaut' and the Cahiers du Cinéma magazine.

“the cinema is becoming a means of expression like the other arts before it, especially painting and the novel. It is no longer a spectacle, a diversion equivalent to the old boulevard theater...it is becoming, little by little, a visual language, i.e. a medium in which and by which an artist can express his thoughts, be they abstract or whatever, or in which he can communicate his obsessions as accurately as he can today in essay or novel”.
- Alexandre Astruc

By declaring this, Astruc was implying that, cinema had now developed into an expression of the 'artist's' imagination. The same way painting is personal to its artist, film; as an industry, had now become just as much of an artistic life-form as other forms of emotional imagination.

"Our New Wave would never have come into being if it hadn't been for the young American Morris Engel, who showed us the way to independent production with this fine movie."
- François Truffaut

In 2008, Truffaut claimed that he took inspiration for his film 'The 400 Blows' from young American film maker; Morris Engel's 'Little Fugitive', showing his appreciation expecially in the film's spontaneous production style. By this quotation, Truffaut connotes that much of the French New Wave movement built its foundation on the Little Fugitive. Also signifying that the film provided the 'guidelines' on independent production.

Andre Bazin, was also a prominent figure of influence in the rise of the French New Wave. Bazin; just like like Astruc, believed that cinema was equal to the novel, and thus he invested much his time and efforts on the cause. In 1951, Andre Bazin co-founded a French language film magazine along with several other film makers and critics titled 'Cahiers du Cinéma'.

Cahiers du Cinéma

Cahiers du Cinéma is a French language film magazine; founded by Andre Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca in 1951. During its earlier years, Cahiers du Cinéma could be considered as to playing a pivotal role in the success of the French New Wave movement. 

French New Wave Essay

Introduction

The French New Wave was an artistic movement in the film making industry, that lasted between the years 1959-1964 The French New Wave was a self-aware movements based around a rejection against the trends of traditionally Hollywood-styled film. In its own sense, the French New Wave movement was an innovative project, who's influence on worldwide film over the past decades has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, and has been admired as a 'cinematic revoltution'.

Origin

The French New Wave movement's origin seem to stem from Alexandre Astruc's 1948 publication from L'Écran Français; titled 'The Birth of a New Avant-Garde: La Caméra-Stylo'. Alexandre Astruc; a French film director and critic, was fundamental to the movement's progress, it was his ideologies and beliefs that would be later be expanded by fellow film maker/critic 'François Truffaut' and the Cahiers du Cinéma magazine.

“the cinema is becoming a means of expression like the other arts before it, especially painting and the novel. It is no longer a spectacle, a diversion equivalent to the old boulevard theater...it is becoming, little by little, a visual language, i.e. a medium in which and by which an artist can express his thoughts, be they abstract or whatever, or in which he can communicate his obsessions as accurately as he can today in essay or novel”.
- Alexandre Astruc

By declaring this, Astruc was implying that, cinema had now developed into an expression of the 'artist's' imagination. The same way painting is personal to its artist, film; as an industry, had now become just as much of an artistic life-form as other forms of emotional imagination.

"Our New Wave would never have come into being if it hadn't been for the young American Morris Engel, who showed us the way to independent production with this fine movie."
- François Truffaut
In 2008, Truffaut claimed that he took inspiration for his film 'The 400 Blows' from young American film maker; Morris Engel's 'Little Fugitive', showing his appreciation expecially in the film's spontaneous production style. By this quotation, Truffaut connotes that much of the French New Wave movement built its foundation on the Little Fugitive. Also signifying that the film provided the 'guidelines' on independent production.

4 Key Factors of Aperture

F-Stop
The aperture is responsible for controlling exactly how much light is allowed to enter the camera lens. Aperture has a direct affect on the depth of view of a image. Altering the F-Stop will impact on the depth of field of the final image/film. A lower F-Stop will allow more light to enter the camera lens, which results in a more shallow depth of field; whereas, a higher F-Stop will allow less light to enter the camera lens, which results in a wider depth of field.

Focal Length
The focal length refers to the size of the camera lens. A longer the focal length (Telephoto) results in less scenery being captured. This camera lens is especially useful in instances when the photographer wants to capture an image that draws the audience's attention to a certain aspect; for example, if a director is trying to point the audience's focus to two characters engaging in a conversation, a telephoto lens would be the first choice pick.
Alternatively film makers may also choose to use a wide angle lens when trying to acquire panorama-styled footage. This enables more of the scenery to be presented to the audience. This is especially useful in scenes shot with establishing shots, where more landscape footage is preferred.

Focal Distance
In its simplest definition, the focal distance is the space between a photographer/film maker's camera and his subject (The person/object he is acquiring footage of).

Physical Depth
Physical depth is the space between to subjects that be captured as the depth of field in an image/recording. In order to see the effects of Depth of Field, there will need to be some physical depth behind the subject.

French New Wave Editing Brief Amendments

For my French New Wave filming project, I have intentions on limiting my editing to minimal; simply using jump-cuts as an alternative to 'smoother transitions' to adhere to the standards set about by the French New Wave movement. Godard was widely recognised for his extensive use of jump-cuts; particularly in the movie 'Breathless'. A compilation of jump-cuts in use within the film 'Breathless', are displayed throughout the embedded video above...

Repeated footage is also on the cards as a mechanism to emphasise an aspect of my film's significance.

Fluid panning and tracking shots were a signature trait of the legendary French New Wave cinematographer: Henri Decaë.  I could incorporate Henri Decaë's filming techniques in my own French New Wave project; adopting and adapting them to explore my own filming style.

French New Wave Filming Brief

Post-studying the French New Wave movement and analysing Jean-Luc Godard directed films; Alphaville, Breathless and Vivre Sa Vie, I have come to the conclusion that for my own personal French New Wave project, that I am going to capture ordinary, everyday life. This is a common narrative theme in the French New Wave movement, particularly in my research subject's films; Godard. My plan is to capture a day in the life of a subject that I am fond of to mimic the manner in which Godard often incorporated actors and actresses that he was familiar or found interest in. For example; Anna Karina, an actress that featured in the vast majority of Godard's early work, was actually his wife for several years. I intend on keeping my project short, a film roughly 4-5 minutes long. My project is set to follow a non-linear narrative about adolescent youths entertaining themselves throughout the day.

My film will be recorded in natural locations around the Leicestershire and Warwickshire areas; the regions in which I live and attend college, however, I intend to acquire footage in public, familiar locations to both me and my subjects. I believe that shooting in a location that myself and my subjects are accustom to will add a sense of familiarity that enables the actors/actresses in my film to feel more relaxed and thus project a more realistic representation of the French New Wave movement. Another common convention of the French New Wave movement is to shoot in public, natural locations, with improvised dialogue. For that reason, I have also decided to take inspiration from other films in this genre, and incorporate these courtesies into my own project.

Additional French New Wave Information

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Henri Decaë's Signature Filming Style

Fluid panning and tracking shots were a signature trait of the legendary French New Wave cinematographer: Henri Decaë.  I could incorporate Henri Decaë's filming techniques in my own French New Wave project; adopting and adapting them to explore my own filming style.

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French New Wave: Design Brief 1

I have decided on taking guidance from three of Jean-Luc Godard's films; Alphaville, Breathless and Vivre Sa Vie, taking into account filming techniques used and etiquettes that are purposely rejected with the aim to produce a visually exciting short film.

Post-studying the French New Wave movement and analysing Jean-Luc Godard directed films; Alphaville, Breathless and Vivre Sa Vie, I have come to the conclusion that for my own personal French New Wave project, that I am going to capture ordinary, everyday life. This is a common narrative theme in the French New Wave movement, particularly in my research subject's films; Godard. My plan is to capture a day in the life of a subject that I am fond of to mimic the manner in which Godard often incorporated actors and actresses that he was familiar or found interest in. For example; Anna Karina, an actress that featured in the vast majority of Godard's early work, was actually his wife for several years. I intend on keeping my project short, a film roughly 4-5 minutes long. My project is set to follow a non-linear narrative about adolescent youths entertaining themselves throughout the day. My film will be recorded in natural locations around the Leicestershire and Warwickshire areas; the regions in which I live and attend college, however, I intend to acquire footage in public, familiar locations to both me and my subjects. I believe that shooting in a location that myself and my subjects are accustom to will add a sense of familiarity that enables the actors/actresses in my film to feel more relaxed and thus project a more realistic representation of the French New Wave movement. Another common convention of the French New Wave movement is to shoot in public, natural locations, with improvised dialogue. For that reason, I have also decided to take inspiration from other films in this genre, and incorporate these courtesies into my own project.

I have the intention of using predominately diegetic sound (Sound in which the source is visible to the audience on-screen), to comply with the rejection of non-diegetic sound within the French New Wave genre, however I may opt to add non-diegetic sounds in the form of music; just as Godard utilised a score for his 1961 film; One Femme Est Une Femme (A Woman Is a Woman). However, instead of using a score like Godard, I have chosen to to make use of a soundtrack. I am still undecided as to whether the music will sync with the visuals of my film, as this is not very common within French New Wave, due to the movements rejection of commonplace Hollywood-styled editing, however I believe if done in moderation (Some segments synced, some segments un-synced), this may deposition the audience; reminding them they are watching a film, thus discouraging them from developing real life emotions; Another common convention in French New Wave.

In terms of filming techniques, I aspire to experiment with providing liberation from the tripod for the camera, instead using hand-held camera movements, possibly favouring elongated long takes, sometimes lasting minutes. Ambient, natural lighting will be light source, which is likely to differ the shooting from high-key to low-key between shots, depending on the time of day the scenes are recorded. Natural lighting is especially appealing to me due to the manner in which it echoes the idealism of realism that was the foundation for the French New Wave movement, something I aim to recreate in my own project.

I intend on keeping my editing minimal; simply using jump-cuts as an alternative to 'smoother transitions' to conform to the standards set about by the French New Wave movement. Godard was well acknowledge for his extensive use of jump-cuts; particularly in the movie 'Breathless'. Repeated footage is also on the cards as a mechanism to emphasise an aspect of my film's significance.

In response to the state of my technical settings, my aim is to ensure that my footage is correctly exposed; adapting

French New Wave

The 'French New Wave' was an artistic movement whose influence on film has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, a cultural revolution.

In 1951, Cahiers du Cinéma; a French magazine of film criticism was formed by a collective of intellectual French film critics, led by André Bazin and Jacques Donail-Valcroze.

They had been influenced by the wrings of French film critique, Alexandre Astruc; who had argued for breaking away from the 'tyranny of narrative'; instead, adopting a new form of film (and sound) language. The Cahiers du Cinéma critics gathered by André Bazin and Jacques Donail-Valcroze were all young, cinematic production enthusiasts who had grown up during post-war years watching mostly great American films that hadn't been available in France during the Occupation.

Cahiers du Cinéma had two guiding principles

• A rejection of classical montage-style film making- The French New Wave was innovative in the sense that it was unique in its approach. The French New Wave refused to conform to traditional conventions found in mainstream film. The French Wave; unlike mainstream Hollywood films during the same time period, preferred the reality of their production over manipulation via editing (E.g. . In addition to this, French New Wave film makers often drew attention from audiences using discontinuity to continuously remind the audience that they are watching a film.
• The ideology that the best films are a personal artistic expression and should bear a stamp of personal authorship- As other great works of literature bears the stamp of the writer (E.g. Romeo & Juliet, Othello and Hamlet have feared the stamp of William Shakespeare over the course of time), this latter tenet was later dubbed the 'auteur theory' by US film critic Andrew Sarris.

The film makers of that made up the French New Wave collective were original and distinctive enough to pursue their own solo careers, however when associated as a clique, this group achieved some of the most influential movements in cinematic history, providing a platform for new film makers to take inspiration from. Some film makers to take influences from the collective's work include American film directors; Steven Spielberg, Martin Scorsese 

Although the accomplishing mainstream success is not on the agenda for new wave film makers, many films have become popular and critically acclaimed worldwide over the years. 'The 400 Blows';  a French New Wave film directed by François Truffaut, received a UK release just under 10 months after its initial release. The five collective film makers who came from Cahiers du Cinéma; Chabrol, Godard, Rivette, Rohmer, and Truffaut were prolific in their prime. During the peak years of the French New Wave; 1959-1966, they directed 32 films between them.

French New Wave movement was first established to show that film did not have to abide to the typical Hollywood conventions and editing/filming techniques to still maintain quality. Instead. the French New Wave introduced a previously unseen alternative way to direct that allowed film makers more creative by rejecting the Hollywood conventions. Typical practise within the French New Wave movement includes:

• The auteur directors were often also deployed as script writers/scenarist for their directed films as well.
• The directors rejected following a strict, free-established shooting script, instead opting for more improvisation from their actors/actresses.
• Directors had a preference for shooting in real locations, as opposed to artificial locations (e.g. movie studios) favoured by Hollywood films.
• The director was known to keep his crew size small. One reason that this may have occurred is the low budget French New Wave films were accustom to.
• Directors favoured using direct sound in their films, as opposed to reflected sound.
• The auteur directors were reluctant to incorporate additional lighting to their films. This ties into their preference for filming in natural locations. Another reason for this is, within French New Wave films; one convention is their ability to dispositioning the audience from narrative, consistently reminding them they are watching a film. This perspective seeks to ensure that audiences do not experience real-life emotions for the narrative.
• The auteur directors favoured using non-professional actors/actresses. This adds to the realist vibe French New Wave films  aimed to create. Auteur directors were also perceived as being unintimidated by big-name actors/actresses, and would direct in the free manner they saw fit.

The French New Wave opened up a new platform in which directors and film makers could develop.  Some benefits that the French New Wave brought about were:

• A greater sense of creativity as by rejecting Hollywood conventions, film makers were able to create the film their way, without the constraints of abiding by blockbuster film patterns.
• The French New Wave movement was credited for erasing the boundaries between professional and amateur cinema.
• The French New Wave allowed auteur directors to explore contemporary issues (E.g. The 400 Blows documents the issue of petty youth crime during the post World War 2 era; a time period in which crime in adolescent youths was increasing).
• The French New Wave movement was famous for its ability to create quality films on a low budget, particularly attracting unknown film makers who were limited to strict financial constraints.

Common French New Wave techniques of filming include:

• Natural lighting with a sharp contrast between black and white colours.
• Liberation for the recording camera from tripod, encouraging more handheld filming.
• The appropriation of certain cinema techniques and director styles worked as a self reference for some French New Wave film makers.
• Embracing Mistakes- Claude Chabrol was famously recorded looking at a bolt when asked to look through the camera eyepiece in his debut film; Le Beau Serge (1958).
• Coutard's Influence.
• Alternative Framing.
• Recording using a hidden camera