Post analysing the French New Wave movement, and conducting research into the films of famous nouvelle vague directors such as Francois Truffaut, Jean-Luc Godard, Claude Chabrol, etc. I have decided that for my own French New Wave short film, I plan on detailing people's lives away from the light, showing what people are like when they are away from sight. I intend on showing a sort of rebellious side to the characters to conform to the New Wave genre.
My intentions are that the short film is recorded as soon as possible after the planning period. I believe this will be useful as it will encourage more 'natural' acting from my characters, thus aiding the narrative in sounding less pre-established; another French New Wave convention, another method I intend on capturing my footage in a natural, outdoor location; a location my actors/actresses are accustom to and know well. I would like to utilise the 'breaking the fourth wall' technique, although this may clash with no-dialogue structure i hope to implement into my film. In order to incorporate the breaking the fourth wall technique into my film without the use of dialogue, I will have to explore unorthodox methods within the French New Wave genre. One method that comes to mind, is having the actors/actresses communicate directly to the audience through body language and physical movements. My reason for not including dialogue in my French New Wave film is the opportunity of adopting my own unique filming style is an offer I feel cannot be left beckoning.
Showing posts with label Unit 1- Contextual Studies. Show all posts
Showing posts with label Unit 1- Contextual Studies. Show all posts
Friday, 13 January 2017
French New Wave Film Evaluation
I have produced a short film, inspired by the French New Wave genre I have been researching into over the course of the last couple of months. I have implemented some conventions commonly found within French New Wave film, and adapted to suit my own cinematic style. My short film details a few hours of a drug user's high, delivered in a New Wave-styled format.
The most important feature in which I have attempted to adopt from this genre's culture, lies in the theme. French New Wave films were infamous for their rebellious nature; being a genre that rose to prominence during the 1960s or the 'golden age' for drugs, I felt it was important to project a sense of anarchistic rebellion to connote this the drug user is engages in an illegal activity, whilst paying homage to the culture behind the French New Wave movement.
The next convention to draw similarities with French New Wave genre is the freedom my footage was able to utilise; stemming from the camera's liberation from the tripod. This allowed me more creative freedom to move around the camera in a manner I saw fit. I also feel it conveys a sense of liberation as just like the camera, the film's protagonist is not limited in what he does. The same sense in which the camera does not conform to Hollywood filming styles, the protagonist does not conform the expectations society forces upon him.
To add to these conventions, I have attempted to keep editing minimal as French New Wave films were usually independently-created (Produced without a producer backing up the project). Jump cuts are encoded into my video instead of smooth transitions to remove any unwanted comparisons to Hollywood movies. However, I have included instances in which I break this genre stereotype. For example 36 seconds into the short film, I have applied a gaussian blur effect to add emphasis to the lyrics 'And I can't see at all'. This is also done to remind the audience that this is the drug user's experience, the gaussian blur effect helps the audience to empathise with the drug user's high, and the 'wavy' experience he is encountering.
Another convention of the French New Wave genre embedded in my short film is the occasional reminder to the audience is that the film is a film. Although this is usually achieved by other films by breaking down the fourth wall. However, in my video it is executed through first-person shots that encourage the audience to empathise with the drug user. I also feel that by applying forms of editing in small doses, I am able to remind the audience that what they are watching is a film.
In this scene from Jean-Luc Godard's 1960 film piece; Breathless, the actor looks directly into the camera. In this film, this technique is utilised as a concession that causes a dislodge in the audience's comfort zone, thus provoking a reaction. It's a technique that can be used to epitomise the importance of a moment or the tension in the atmosphere. The 'breaking the fourth wall' technique has also been incorporated in various Hollywood TV series and film, for example directors of the 90s hit TV series 'Fresh Prince of Bel-Air', often had characters breaking the fourth wall by looking directly at camera, and in various instances, running through the live audience. An example of this occurs in Season 5 Episode 6 titled 'Will's Misery'.
In this scene Carlton breaks the fourth wall by running past the live audience and through the set, all of which is captured by the camera. This is implemented into the episode to empathise Carlton's shock and disbelief by Will's false account of what had happened that night, whilst delivering the scene with a humorous twist.
Another French New Wave convention that I have incorporated into my work is keeping the film crew low in numbers. I achieved this by only requiring one person to work as the actor, editor, film team, etc. I was able to do all of this jobs by myself, as just like more prominent film makers in the French New Wave movement, my production budget was limited, thus forcing me to set the objective of keeping production costs as low as possible, whilst maintaining the highest quality of film possible. To keep up with the French New Wave theme, my film was produced in such a way that no additional lighting was required. This was achieved by filming outdoors in a natural location, with me making the suitable adjustments to shutter speed, aperture and ISO to match the lighting. This French New Wave short film was recorded on a particularly sunny winter day, so it took a few minutes of playing around with the settings to ensure the image was not either overexposed or underexposed.
Lastly, one convention I felt was crucial my film embedded was ensuring my French New Wave short film did not follow a strict pre-established shooting script. However, being the same person that came up with the film's theme and the actor in the film; I was faced with the dilemma of how to conduct the film. In the end, I had decided the actor would not be given any dialogue, to maintain a sense of French New Wave authenticity. Everything the actor is thinking is projected through the song (Chorus of Eminem's 'Stan', 2000).
To conclude, I feel that my French New Wave short film project went well, however, if given the opportunity to work on it again, there are a few aspects I would have liked to improve upon. One of these aspects is the soundtrack used. The song in question is Eminem's Stan; initially released in 2000. Although I felt that this soundtrack was fitting to the story my short film attempts to tell, one convention in the French New Wave movement is contemporary and modern soundtrack be used. This means my film has chosen style over substance and thus this error dislodges the French New Wave theme my short film attempts to imitate. If I am able to rectify this error, I feel that the authenticity of my French New Wave short film will be improved.
The most important feature in which I have attempted to adopt from this genre's culture, lies in the theme. French New Wave films were infamous for their rebellious nature; being a genre that rose to prominence during the 1960s or the 'golden age' for drugs, I felt it was important to project a sense of anarchistic rebellion to connote this the drug user is engages in an illegal activity, whilst paying homage to the culture behind the French New Wave movement.
The next convention to draw similarities with French New Wave genre is the freedom my footage was able to utilise; stemming from the camera's liberation from the tripod. This allowed me more creative freedom to move around the camera in a manner I saw fit. I also feel it conveys a sense of liberation as just like the camera, the film's protagonist is not limited in what he does. The same sense in which the camera does not conform to Hollywood filming styles, the protagonist does not conform the expectations society forces upon him.
To add to these conventions, I have attempted to keep editing minimal as French New Wave films were usually independently-created (Produced without a producer backing up the project). Jump cuts are encoded into my video instead of smooth transitions to remove any unwanted comparisons to Hollywood movies. However, I have included instances in which I break this genre stereotype. For example 36 seconds into the short film, I have applied a gaussian blur effect to add emphasis to the lyrics 'And I can't see at all'. This is also done to remind the audience that this is the drug user's experience, the gaussian blur effect helps the audience to empathise with the drug user's high, and the 'wavy' experience he is encountering.
Another convention of the French New Wave genre embedded in my short film is the occasional reminder to the audience is that the film is a film. Although this is usually achieved by other films by breaking down the fourth wall. However, in my video it is executed through first-person shots that encourage the audience to empathise with the drug user. I also feel that by applying forms of editing in small doses, I am able to remind the audience that what they are watching is a film.
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Another French New Wave convention that I have incorporated into my work is keeping the film crew low in numbers. I achieved this by only requiring one person to work as the actor, editor, film team, etc. I was able to do all of this jobs by myself, as just like more prominent film makers in the French New Wave movement, my production budget was limited, thus forcing me to set the objective of keeping production costs as low as possible, whilst maintaining the highest quality of film possible. To keep up with the French New Wave theme, my film was produced in such a way that no additional lighting was required. This was achieved by filming outdoors in a natural location, with me making the suitable adjustments to shutter speed, aperture and ISO to match the lighting. This French New Wave short film was recorded on a particularly sunny winter day, so it took a few minutes of playing around with the settings to ensure the image was not either overexposed or underexposed.
Lastly, one convention I felt was crucial my film embedded was ensuring my French New Wave short film did not follow a strict pre-established shooting script. However, being the same person that came up with the film's theme and the actor in the film; I was faced with the dilemma of how to conduct the film. In the end, I had decided the actor would not be given any dialogue, to maintain a sense of French New Wave authenticity. Everything the actor is thinking is projected through the song (Chorus of Eminem's 'Stan', 2000).
To conclude, I feel that my French New Wave short film project went well, however, if given the opportunity to work on it again, there are a few aspects I would have liked to improve upon. One of these aspects is the soundtrack used. The song in question is Eminem's Stan; initially released in 2000. Although I felt that this soundtrack was fitting to the story my short film attempts to tell, one convention in the French New Wave movement is contemporary and modern soundtrack be used. This means my film has chosen style over substance and thus this error dislodges the French New Wave theme my short film attempts to imitate. If I am able to rectify this error, I feel that the authenticity of my French New Wave short film will be improved.
Thursday, 15 December 2016
French New Wave Film
This is my French New Wave short film, directed, and starring myself. The soundtrack used in my film is Eminem's 2000 hit song 'Stan'.
Friday, 25 November 2016
Operating Camera Equipment Safely
During the task of exploring Riversley Park, Nuneaton and capturing and displaying different camera shots; along with their uses and applications within the real world, it was important for photographers to make sure the camera equipment was being operated safely. This includes procedures to ensure that the health and safety of everyone involved (Photographers, models, and bystanders) were respected, equipment was not damaged or stolen, etc).
One procedure that we made sure to follow, was the the equipment at no moment of time was to be left unsupervised and unattended. This procedure was one that we considered crucially important to guard against theft attempts from strangers. Between the 5 members that made up the group, we were able to delegate roles within the group so tasks were not left uncompleted. 1 of the 5 in the group were drafted the task of watching the camera equipment.
Another procedure that we were careful to follow was ensuring the bystanders' health and safety was respected. One way in which we maintained this standard, was by ensuring that camera equipment such as tripods were not impeding the paths of pedestrians; thus minimising the risk of damage to the camera equipment and the risk of injuries to bystanders through faults of our own. Another less significant procedure we followed, was attempting to take shots away from the public, this wass mainly done to avoid capturing bystanders and pedestrians in our footage, but another reason was the camera flash can be blinding to unsuspecting victims and could be further agitating for people who suffer from conditions such as seizures. Directing the camera flash away from people enabled us to have more freedom in how we captured our footage without the limitations that may have constricted the laissez faire mentality we utilised for our task.
One procedure that we made sure to follow, was the the equipment at no moment of time was to be left unsupervised and unattended. This procedure was one that we considered crucially important to guard against theft attempts from strangers. Between the 5 members that made up the group, we were able to delegate roles within the group so tasks were not left uncompleted. 1 of the 5 in the group were drafted the task of watching the camera equipment.
Another procedure that we were careful to follow was ensuring the bystanders' health and safety was respected. One way in which we maintained this standard, was by ensuring that camera equipment such as tripods were not impeding the paths of pedestrians; thus minimising the risk of damage to the camera equipment and the risk of injuries to bystanders through faults of our own. Another less significant procedure we followed, was attempting to take shots away from the public, this wass mainly done to avoid capturing bystanders and pedestrians in our footage, but another reason was the camera flash can be blinding to unsuspecting victims and could be further agitating for people who suffer from conditions such as seizures. Directing the camera flash away from people enabled us to have more freedom in how we captured our footage without the limitations that may have constricted the laissez faire mentality we utilised for our task.
Monday, 31 October 2016
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.
Tuesday, 18 October 2016
French New Wave Editing Brief Amendments
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.
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.
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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Wednesday, 12 October 2016
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
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
Wednesday, 5 October 2016
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
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:
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
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