Realism or Formalism? Overall documentary feel of nouvelle vague films Location shooting, natural...

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Transcript of Realism or Formalism? Overall documentary feel of nouvelle vague films Location shooting, natural...

  • Slide 1
  • Realism or Formalism? Overall documentary feel of nouvelle vague films Location shooting, natural light, direct sound recording, grainy photography, casual composition Long takes
  • Slide 2
  • Nouvelle Vague Realism or Formalism?
  • Slide 3
  • Table of Contents 1) Nouvelle Vague (French Film Style) 2) Individualism and Innovation in Filmmaking 3) Realist or Formalist?
  • Slide 4
  • Nouvelle Vague The style of a number of highly individualistic French film directors of the late 1950s and early 1960s.
  • Slide 5
  • Nouvelle Vague Young filmmakers in their 20s and 30s and Cineastes. Cinemateque Franais (1936 - )
  • Slide 6
  • Nouvelle Vague Their works were made under the influence of off-the-mainstream films foreign language films, non-Western films, and American B movies.
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  • Nouvelle Vague Their works were made as a reaction to the carefully scripted and carefully filmed products of the French film industry.
  • Slide 8
  • Nouvelle Vague With low budgets -- location shooting instead of building elaborate sets; contemporary drama instead of the historical one requiring period costumes; fresh young performers instead of stars.
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  • Nouvelle Vague Impact of Alexandre Astruc, Andr Bazin and Cahiers du cinema. Camera-Stylo (Camera-Pen) Cinema must to become a means of expression as supple and subtle as that of written language Astruc Filmmakers gain the status of authors. Break away from the tyranny of narrative and develop a new form of audiovisual language.
  • Slide 10
  • Nouvelle Vague Cahiers du cinma founded in 1951 by Andr Bazin and Jacques Doniol-Valcroze Personal authorship filmmaker is the author responsible for the entire product, which reflects his personal thought and is made of his personal audiovisual style.
  • Slide 11
  • Nouvelle Vague Film should ideally be a medium of personal artistic expression and that the best films are therefore those that most clearly bear their makers signature the stamp of his or her individual personality, controlling obsessions, and cardinal themes. Franois Truffaut, Une Certain tendance du cinma franais
  • Slide 12
  • Nouvelle Vague Attack against the postwar tradition of quality literary/theatrical cinema, the commercial scenarist tradition with heavy emphasis on plot and dialogue. Cinema dauteurs against Cinema de papa
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  • Nouvelle Vague Common characteristics Contemporary drama Non-narrative cinema with no or little plot Experiments with visual style (portable hand-held 16 mm camera shots, and casual or no elaborate composition), and editing (fragmented and discontinuous montage or long take) Combination of objective and subjective realism and authorial formalism.
  • Slide 14
  • Nouvelle Vague: First Films 1959 the landmark year Franois Truffauts Quatre cents coups (400 Blows) Alain Resnais Hiroshima, Mon amour Jean-Luc Godard A Bout de souffle (Breathless)
  • Slide 15
  • Nouvelle Vague: First Films Quatre cents coups made by the 27-year-old Truffaut with $75,000, the loan from his father in law, is a lyrical but unsentimental account of a juvenile delinquent. Refreshingly casual, artless (no artificial lighting and synchronous recording of sound)
  • Slide 16
  • Nouvelle Vague: First Films Hiroshima, Mon amour is about the relationship between time and memory in the context of a terrible tragedy. Resnais keeps the counterpoint between present and past by continually juxtaposing them and shifting between the objective and subjective narrative mode
  • Slide 17
  • Nouvelle Vague: First Films Shot in four weeks fro $90,000 by Godard, A bout de souffle was in many ways the most characteristic and influential film of nouvelle vague It contains every major technical characteristics of nouvelle vague.
  • Slide 18
  • Nouvelle Vague: First Films Scenes shot by a shaky hand-held camera Location shooting with natural light and direct recording on location Improvised plot and dialogue
  • Slide 19
  • Nouvelle Vague: First Films Elliptical style of editing In sequences (a series of scenes that are connected by the unity of place or time) actions are shown in a few brief shots rather than fully depicted. From the opening scene in which Michel steals a car and the scene in which he kills a cop and runs away. A section of a single continuous shot is eliminated and then what remains is spliced together jagged jump cut.
  • Slide 20
  • Nouvelle Vague: First Films Jules et Jim (1961) Truffauts third feature film and about two close friends falling in love with the same woman and trying to live together in mnage trois after WWI. Exquisite emotional lyricism achieved through the unconventional use of zoom lens, slow motion, fast motion, freeze frame, and anamorphic distortion.
  • Slide 21
  • Realism or Formalism? Some of the Nouvelle Vague films showed, for example, Paris streets and its inhabitants at the time many American films were still formulaic and studio bound. Paris nous appartient (Paris Belongs to Us, 1961) Godard Godard
  • Slide 22
  • Realism or Formalism? Les Cousins (The Cousins, 1959) tells the story of two cousins, the decadent Paul and the nave Charles who newly arrives at Paris. Charles falls in love with Florence, one of Pauls many girl friends. People, places and institutions and their ways of life in Paris.
  • Slide 23
  • Realism or Formalism? Avoiding to become literary or theatrical cinema, nouvelle vague filmmakers based their work on original scripts rather than novels or plays, and resort to improvisation. Eric Rohmer, La Boulangre de Monceau (1962) tells the story of a man who hesitates between two women.
  • Slide 24
  • Realism or Formalism? Self-conscious use of filming techniques unconventional style or stylistic innovation Quotations from other films Self-reference nouvelle vague films are films about film, or films about filmmaking.