The French New Wave, or Nouvelle Vague, is among the most revolutionary film eras in the history of cinema. Spurred as a result of major shifts in economic, social and technological norms within post-WW11 France, the New Wave conceived a renewed mode of expression across various creative industries. Francois Truffaut’s
Italian Neo realism; Pure Cinema 1. Ladri de Biccilette [Bicycle Thieves] (Vittorio De Sica) Do you agree with Andre Bazin that Ladri de Biccilette is an example of ‘pure cinema’? (Bazin  p.60). To what extent is such a pure cinema possible and, in your opinion, which Italian Neo-realist film screened on the unit comes closest to it? Explain your reasoning.
The way Godard uses camerawork and editing in the film is another way that he uses forms and standards of cinema in order to purposefully draw the audience’s attention to the filmmaking process. In classic Hollywood cinema, spatial and graphic continuity editing is extremely important, and often worked to perfection. Editing in Breathless is not used to advance the storyline or show continuity between scenes, but to echo the rhythms of everyday life. There are many jump cuts throughout the movie, which is considered a sin in classic cinema. The interesting thing about the jump cuts is that the dialogue continues uninterrupted despite these choppy cuts.
The French movie “Welcome” is a film by Philippe Lioret. The film takes place in France amidst the refugee crisis. The issue presented in the movie is the refugee crisis in France. France has a problem in refugees because many of the refugees comes into the country to live a better life or to try to make it into England. However, France has made it illegal to help refugees, such as housing them inside one’s own home. The Calais jungle has many refugees housed, all seeking asylum. Refugees would sneak into trucks going to England of this and try to sneak into trucks in order to reach England for a better life. To combat this, France set up higher security to spot these refugees and to stop them from going. These methods are shown in the movie. Security would use a device to detect the amount of carbon dioxide being produced because refugees would hide in the trucks. The other method that people have tried reaching England is by swimming. Refugees wants to go to England for many reasons, some being to live a better life and others to rejoin loved ones. Bilal, a seventeen-year-old refugees who is all by himself, wants to go to England to be with his loved one, Mina. Bilal pays five-hundred euros to sneak to England by truck, but that fails because he cannot keep the bag, to stop carbon dioxide from going out, on long enough. He then goes to get lessons from Simon, a depressed man going through a divorce with his wife, Marion. Marion does not like Simon’s indifference,
Director Brett Harvey documentary, The Culture High is an interesting story that takes a raw and honest look that tears into the very grit of modern day marijuana prohibition to reveal the truth behind the arguments and motivations governing both those who support and those who oppose the existing pot
Usually when two characters are in conversation, often with Patricia, a sequence of shots and jump cuts is favored over a continuous shot. As Michel and Patricia are driving together, their conversation is shown using jump cuts. It is not obvious how much time the cuts skip, but by the sequence and the other similar ones, there is something to show specific point in time being reached. In this case it is them reaching their destination. In another scene, a man finishes telling Patricia a story. By cutting out times of silence, there is a nonstop stream of dialogue that cannot practically be achieved in a continuous shot without the acting being very strange to watch. During these conversations, the movie’s title is physically exemplified as the characters are breathless in their conversation. These also create a certain rhythm that the viewer can follow since each shot is roughly the same length of time. Because of this, the technique calls attention to itself while simultaneously taking care to not detract from its overall effect and the
“A true film auteur is someone who brings something genuinely personal to his subject, instead of producing something tasteful, accurate but lifeless rendering of the original material,” a quote by Francois Truffaut. Auteur Theory was bold and risky for Francois Truffaut and Orson Welles to carry out throughout their film,
To what extent can location and mise-èn-scene contribute the success of a film? Mise-en-scène is a French term meaning “put into the scene” or “onstage”. It refers to elements of a movie scene that are put in position before a film begins and are employed in certain ways once the filming does begin. For this investigation, I am going to show contrasts and similarities in reference to mise-en-scène and location, and what they add to a film using the Director; Danny Boyle, and his films, The Beach, 28 Days Later and 127 Hours.
Film noir is a cinematic term used to describe stylish crime drama movies. They usually involve cynical attitudes and sexual motivations.” All film noir movies are shot in black and white giving sense of moral corruption, evilness or desperation. A dark-themed music is played making the movie more mysterious. The world inside the film noir movie is filled with doom, fate, fear and betrayal. The factor in the movie “Out of the past” that proves it is film noir are atmosphere of movie, presence of character as femme fatale and doomed character.
Bloom’s article talks about Beur Cinema and traces how the meaning of Beur evolves with the changes in immigration policies. Beur Cinema challenges the tradition notion of what consist true Frenchness and suggest an identity politics emphasizing on the second generation of immigrants. Bloom also mentions that the Beur has became a misnomer after the Gulf War. In La Haine, there is a theme of hybrid identity. Vinz sees himself as an Honorable Arab even though he is actually Jew. For the youth in the banlieues, they are all marginalized despite of their cultural differences.
Jean-Luc Godard stumble upon jump cuts when he was commission to do a 90 minute film, but he surpassed that limit and had to cut the film down but, still ensure that it makes sense and has a rhythm. When he finished editing the film, the clips made sense and
In David Cook’s, “A History of Narrative Film," it is said that “the prevailing mode of postwar French cinema was literary adaption, which caused French films to become increasingly verbal and theatrical. It was against this tendency- identified as ‘the tradition of quality’ by Francois Truffaut and the other critics
Early movies were shot and viewed as slide shows. With narrations like The Life Of An American Fireman, where instead of cutting we would see full clips linked together. When the filmmakers brought us from one action to the next they, repeated actions instead of cutting and letting
Most commonly questioned temporal shots are smoothed together using continuous diegetic sound creating a logical linear timeframe that is an auditory reminder for the audience. Other related techniques, such as the flashback and montage, are also commonly utilized in continuity editing within Classical Hollywood cinema. A flashback is the jump in the story from a point in the present to a point in the past; an internal analepsis is a flashback
This caused outrage in an Industry already low on capital and fighting to recover after the occupation years. The number of American features increased tenfold while French film output reduced to just seventy-eight features a year. Similar agreements with other European countries worsened the situation as countries which traditionally relied on French Cinema were being saturated by Hollywood. This caused an outrage within the industry and in 1948 the French Government introduced legislation which brought back a quota on American films of 121 per year. Along with this quota, legislation was introduced which would shape the French film industry throughout the 50s. Major bank loans were made available for stable production companies to finance future films and a new admissions tax was introduced. If a film was successful then a large fund would build up which the government made specifically available to producers to fund future films. This encouraged production companies to make popular and safe films with star names and well known stories, and discouraged experimentation. Throughout the early and mid 50s many literary adaptations, costume dramas and huge co-productions with cast and crew drawn from both France and other European countries were made. They were predominately studio bound with lavish sets, elaborate lighting, special effects and extravagant costume. This Cinema became known as the tradition of