Breaking The Standards Of Film: The French New Wave

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

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

In one scene, Michel is driving in a car with the American girl he tries to convince to go with him to Italy, Patricia. He is describing her beauty and the features that he likes about her, and as he gives each detail, the camera does a jump cut to a shot of Patricia’s face. In another scene, Michel is in Patricia’s apartment. As they are talking, the jump cuts make the entire scene appear to be a montage rather than one continuous scene. The jump cuts don’t add to the narrative or continuity of the scene in any way; they are

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

At the same time, the outbreak of the Second World War threatened to devastate Hollywood’s vital overseas trade. The studios’ exports to the Axis nations (Germany, Italy, and Japan) declined to almost nothing in 1937-38, but still Hollywood borrowed roughly one-third of its total revenues from overseas markets. The primary oversees client was Europe, which supplied about 75 percent if the studio 's foreign income in 1939. However, the European markets were severely disrupted by the outbreak of war in September 1939 and continued to decline as fighting continued in Europe. The war in Europe resulted in the US government to initiate a massive military and defense buildup, which had tremendous effects on the movie industry. Hollywood played it safe by producing a few war-related features in 1940, however, focused mostly on newsreels and documentary shorts of the war. Hollywood, in order to increase demand on top featured films, turned to independent producers in the early 1940s. The most aggressive studio to adopt major independent productions was RKO. RKO had over a dozen independent unit productions under way in 1940.

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

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 laws. As we ask ourselves will marijuana be legalized in our lifetime? Or is the “war on drugs” really fundamentally affecting this country? This documentary states two reasons why the information on cannabis is kept from the public, either just one joint can cause psychiatric (mental illness) episodes similar to schizophrenia (a long-term mental disorder) or the addiction and how this drug can lead to another drug. The thesis that this documentary

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.

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,

Movies made during and after World War II evoke images of a country unified against a common foe in a world with Nazis, war, and espionage. That unity did not exist behind the scenes where another war was brewing. Aimed at the largest Hollywood studios of the era, the U.S. Department of Justice “initiated its first antitrust challenge in 1938” (Lewis, 2008, p. 195) to break up their “monopoly control over the industry” (Lewis, 2008, p. 194). This antitrust challenge would find a decade long hiatus. However, shortly after the end of the war, the “United States v. Paramount Pictures, et al.” (Lewis, 2008, p. 194) decision provided the spark that changed the Hollywood system and the fuel that fed the Hollywood blacklist.

I believe that Jean-Luc Godard uses jumps cuts because he discovered that the audience does not need to be shown the whole transition scene and can just jump to a different scene and still make sense to the viewer. Furthermore, the jump cut forces the viewers of the film to understand and see that time has shifted in the film. In addition, to time, it can also be used to communicate to the viewers of the film that the setting has changed. It is a way of adding time

To fully comprehend why and how this cinematic motion took place, it is valuable here to establish the wider social climate of France at the time, and the active forces which heavily shaped New Wave cinema. Between the years of 1945 and 1975, France would undergo “thirty glorious years” of economic growth, urbanization, and a considerable baby boom, all of which came to expand and radically alter the parameters of French culture (Haine 33). Beneath the surface affluence however, France was in a state of deep self-evaluation and consciousness. Following WW11, the

Do you agree with Andre Bazin that Ladri de Biccilette is an example of ‘pure cinema’? (Bazin [1971] 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.

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

Corruption and absolutism are ruling France. The movie well describes France as a big corrupted state where the poverty is on such a bad level, therefore, the people of France are starting to realize that the king, Louis XVI, should be taken down. The idea of to getting France to change to better is visualized through the main characters which are not trying to help just France but also the French people. However, the nobles are making it impossible for anybody, who is not on their side, to even get a chance to see the king and the noble women have the power of corruption which is shown in many ways throughout the movie.