Seller Inventory Ships with Tracking Number! Buy with confidence, excellent customer service!. Seller Inventory n. French New Wave Pocket Essentials. Chris Wiegand. This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Synopsis About this title The directors of the French New Wave were the original film geeks - a collection of celluloid-crazed cinphiles with a background in film criticism and a love for American auteurs.
Review : 'A meticulously assembled guidebook covering the influential period of Gallic filmmaking. That's for me to use for my own purposes with respect to dates, e Totally posuer's book. That's for me to use for my own purposes with respect to dates, etc. View all 6 comments. May 15, Danny rated it liked it. This is an introductory book to the French New Wave.
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By introduction, I really do mean an introduction: Wiegand gives short descriptions and reviews for a range of films that can be said to belong, picking up on the central themes. Mixed with some paragraphs providing essential historical background, it functions either as an index book for Nouvelle Vague films or a more narratively interesting Wiki page for complete newcomers. Mar 26, yener rated it liked it.
Nov 08, Mikael Lind rated it liked it Shelves: film. For an absolute beginner, this is a good book to start with. After you have seen the major films of the French New Wave, the book offers not but a little bit of interesting analysis. After a short while, therefore, the book almost gets a bit obsolete.
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Then, of course, you can always lend it to a friend who needs some guidance in the subject. This book is made to be passed around. Therefore, I do recommend it. It is handy, informative, if a bit too simple. Feb 15, Adrian Manning rated it it was amazing. A quick easy read with good information for someone exploring the genre.
Sedat Burrniku rated it it was amazing Jan 06, Mark Bold rated it really liked it Nov 01, Eliza Parr rated it really liked it Mar 28, Deborah A. Ingram rated it did not like it May 12, Mike rated it it was amazing Dec 15, Abdulrahman rated it it was amazing Sep 01, Sevcan Barut rated it liked it Aug 06, Miike rated it really liked it Jul 14, Kimmy Lai rated it liked it Feb 18, MR rated it really liked it Apr 19, Linus rated it liked it Jul 24, Dennis rated it it was amazing Feb 15, Emily M rated it really liked it Jul 06, Dave Russell rated it really liked it Sep 14, Adam rated it liked it Apr 22, Chaz Vickers rated it liked it Mar 18, Sinem Asena rated it liked it Apr 23, Melanie rated it really liked it Aug 03, Ilgin rated it really liked it Apr 28, This style was what propelled the new wave movement forward, however, they also borrowed many techniques from the neo-realists Roberts and Wallis The new wave filmmakers often used handheld cameras to shoot on location, partly out of practicality and partly out of innovation.
The new wave also saw the invention and use of the jump cut. The jump cut is when a scene is cut forward in time, whether by a split second or many seconds. Godard was no doubt the most prolific user of the jump cut. Other innovations in new wave cinema included a large use of close ups and a lack of establishing shots. A viewer was supposed to feel the setting, not necessarily see it.
Even though Resnais was a generation older than the Cahiers critics, his breakthrough feature Hiroshima, Mon Amour that premiered at Cannes in proved to be just as revolutionary as the young autuers rising around him. Though some were frustrated by the avant-garde nature of the film, others praised it as a brilliant cinematic work Biggs While in Hiroshima, she meets a Japanese architecht, played by Eiji Okada, and they fall in love.
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Intertwined in their relationship are both of their pasts and how the dropping of the atomic bomb in Hiroshima affected their respective lives. It is the something as small as a tense shift that Resnais is trying to provoke thought on the way memory works and instills.
The opening scene is just as memorable, with a juxtaposition of the two lovers in an embrace and the horrors and destructions of the atomic bomb in Hiroshima. It is reminiscent of the comparisons between the nature of love and war and the coexistence of past and present that Resnais believed in Weigand No longer was a timeline or linear construction important to cinema.
The movie itself is dedicated to Monogram studios and the B-films it would often put out Cook A theme is something simple and vast…summed up in twenty seconds. While this plot may seem overtly simple, it is.
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For Godard, the lines, plot and story were to take a backseat to his ability manipulate the cinema and the camera. This is no more clear than in the opening scene. What follows is a series of cuts, mismatches in eyelines, erratic and random sound design, and an overall rejection of traditional continuity editing that all contribute to the confusing spatial relationships in the sequence. Visually, A Bout de Souffle is groundbreaking. Godard said that his cameraman hated the images, but he was concerned more with the fact that he was there to film them rather than what they looked like filmed Marie It is this principle that propels the film forward.
Godard had also said he would like to film it as if the camera had just been discovered and that there were no rules to cinema Marie This is never more apparent then at the end when the 4th wall is broken and one of the characters talks directly to the camera, with seemingly no motivation. Another major standout in A bout de Souffle is the multitude of references to Hollywood. There is also a movie poster for The Harder They Fall and not to mention the overall homage of the movie itself to American film noir. Overall, A bout de Souffle set out to break down barriers and start anew with cinema and gain change.
Godard achieved this by ignoring the conventions of film and starting a style of his own. However, many of the major figures were still making movies using the new wave principles. It follows a widowed woman who has called upon an ex-lover to meet her in her hometown so they can basically re-hash the past, good and bad.
French New Wave (Pocket Essentials)
Bernard also has problems with the past, stemming from an act of violence he committed to a young woman during the Algerian war. It is obvious from the beginning of the film that Bernard is strange and distanced from those around him, most likely due to the psychological effects of the war on him.
The war is also shown in bad light between the widow and her ex-lover, Alphonse. They were separated by his service and much of their harping on the past and difficulties in their relationship stem from this wartime separation. While the sheer psychological and emotional effect on a person can be condemning enough, the titular character, Muriel, is probably the most damning aspect of the movie. However, after awhile, Muriel is revealed to have been a girl that Bernard was involved with torturing and killing during the Algerian war. It is this specific memory that haunts Bernard and acts as a psychological roadblock in his path to get past the war.
The main theme in Muriel is obvious: memory. Resnais returns to his obsession with the way memory acts, effects and persists. This state of mind then causes the viewer to ask if memory exists in the past or in the present?