Essay about Cleo 5 to 7 as a New Wave Film

In this film while Cleo struggles to occupy herself with different activities of her daily life while she awaits the fate of her cancer results. While Cleo occupies herself with different people before actually meeting with her doctor later in the day, the film touches on how women are being ignored and not taken seriously. During this time, it would seem that women get completely undervalued and underappreciated. Throughout the movie time after time Cleo’s real feelings were being ignored. In the film after Cleo had received the devastating news from her hand reader, Cleo and her assistant went into a diner. Cleo not being able to hold in the results that she heard broke down into tears. While a couple of men came to her side to assist her

her production. The film itself is not a live-shot documentary, but attempts to represent a

This being a constant occurrence through the whole film shows that this was directly influenced by the French new wave style. This was done similar in (Breathless,1960) another film by French new wave icon Jean-Luc Godard, he has used the jump cut to obtain two things, an increase in pace of the film and the visual cause an abruption on screen again reaffirm the audience that they are viewing a movie. Again, Just as Jean-Luc Godard had

These techniques used effectively create a greater emotional pull. (SLIDE 3) Some camera shots used are extreme long shots, long shots, medium shots and close ups, camera movements such as panning and tilting and many more. These film techniques are extremely beneficial to the making of this documentary as they help the viewer have a higher understanding of the subject, creates an effective outlook and have a more interesting

And one important aspects of this particular documentary film that is visible as the scene progresses is the type of montage used. Man with a Movie Camera consists of a series editing and collision editing which have their own purpose; there are scenes that show the man carrying his camera then quickly

She moves through the world not as equal but as an object of desire to be taken and controlled. Feminist filmmakers like Agnès Varda and Catherine Breillat criticize this idea of women being object and men being subject and seek to expose the way society’s demand to fit into the ideal standards of femininity are oppressive in nature. Both filmmakers give a way out from the role of object to a more assertive stance of subject; they find ways to move past objectification to be seen as more than just their sex. In Varda’s film, Cléo from 5 to 7, she plays on the idea of object versus subject and reach a state of equality when appearing in the streets. To take on the role of looker instead of just being looked at marks the first step into women maintaining their subjectivity and re-engaging with the world that is not merely defined in relation to the objectification of their body.

Mid, close-up and extreme-close-up shots of the subject are used. As the subjects’ words become more dramatic/important to the argument the shots used get closer to show emotion and importance as well as to dramatize the content. Interviews sometimes cut to real footage to support the content of the interview to make it more convincing and also to keep the audiences’ attention. SLIDE 2 – NARRATION The film does not use a narrator, instead the narration is built up using dialogue from interviews, this can be seen as a form of Cinema Verite.

Escapism: Theme of the French New Wave Movies The 400 Blows and Breathless French New Wave influenced cinema worldwide. French New Wave filmmakers believed in auteur cinema, and they tried to make films in which social and political issues were explored. French New Wave movies were made with a small budget, natural setting, quick shootings, with a small crew, hand-held cameras, and young actors (Philippe, 2010). The French New Wave movies had some common thematic affinities; many of these movies portrayed that authoritative, romantic, and political relationships are distrustful (Thompson & Bordwell, 2010).

Within the final scene of Le Samourï (Melville JP, 1967) we see the protagonist, Jef Costello, in his final battle. As previously mentioned, a crime thriller film noir has a lot of violence and brutality in it. Therefore, the genre convention is met (Morris K, 2012). In the film Un Ballet en Plein Air (Kemp W, 2017) the only scene where someone is killed is in the final scene and this is where all the action occurs. The editor uses a J cut by playing the music from the next shot in the previous shot. This sets the audience up and they have an idea of what is to be expected. In this particular scene pacing and rhythm when editing the different shots were vital because this is what carried the narrative through and didn’t give too much away when watching the film. The audience knew what was about to happen but because of the pacing there was suspense before the final shoot out. In order to create the suspense the editors linger on two medium shots of the subjects. So they would cut from one medium shot to another to prolong the suspense and then cut

The film, “Cleo 5 a 7” by Agnes Varda; was released in 1962 at the height of the new wave movement. In the film, a young woman, Cleo, waits impatiently for the results of a biopsy from her doctor to determine whether she has cancer or not. During the course of the film, she looks for empathy from her friends but not to the degree she had hoped for.

The cinematography also adds to the abbreviation of time. There are many durational shots in this film. Varda chose to utilize camera movement, zoom, focus, subject placement and composition to tell

In the last few seconds of the 1st minute shows a shot of a sea and then the title which appears above the sea shot. As the sequence advances (02:00) the camera shows an extreme long shot of different parts of the city (Cape Girardeau, Missouri) at the bottom of these shots the credits are running along the screen. (02:37) There is a shot of Nick again at a low angle with very dim lighting because the the time of day. The 3rd minute of the movie the camera shows Nick in his car going to a bar. The background music is non-diegetic this is the narrator commentary which is added for dramatic effect. As the 4th minute approaches there is a close up of Amy as she writes an entry in her Diary. While this is shot is being portrayed a voiceover is happening and dialogue between the 2 main characters is happening a two shot surfaces out. The last minute of the movie (05:00 )the camera shows a full shot of people in the background at some sort of gathering . An extreme close up then appears of the two characters l flirting and making eye contact. The opening scene draws my attention so much because Fincher has a very lavish style of

One example of montage was when previews of the new movie shows the viewers that Carter was under Leah’s bed while she was lying down with her eyes open. However, when viewers goes to the movies and see the film, that one particular scene actually takes place when Carter was under Leah’s bed, but she was having sexually pleasures with Dave. Another example of montage was when the viewer’s sees was when Leah takes a steaming shower, Carter was in her house and puts his hands on the shower glass. However, when viewers goes to see the film, Leah and Dave was taking a shower together and Carter appears in the bathroom and puts his hand on the glass. The commercial and the actual film has an extraordinary way to prank viewer’s minds because of the two examples above. I personally think that Sobel work was indescribable because the way he mise-en-scene all of the scenes and how the movie was playing

She lived a new form of bourgeois lifestyle that was affluent, cultivated but more anti conformist and less cynical, despite remaining very consumeristic. Her focus on leisure as well as individual freedom, represented another key aspect of French modernity in its mirroring of capitalist and Western ideology. This behaviour could be seen in her private life and film roles, as she smoked, drunk and strolled the streets of urban environments, while going to street bars, cafes, casinos. Just like like the modern female Moreau showed a boredom with traditional bourgeois life and her role as an urban woman, was a departure of typical conceptions of French femininity, that kept the woman in the domesticated sphere. This urban femininity can be seen in many of her film roles, such as the 1957 Louis Malle directed film Ascenseur Pour l 'Échafaud (Elevators to the Gallows). The film captures her freedom to wander and traverse the environment through its use of tracking shots that trace her movement and emphasise her belonging and control over the space. Moreau’s modernity must also be considered through her significant role as an actor of the New Wave. In many ways Jeanne Moreau became a personification of the New Wave style in her star persona, and this shaped her image of femininity. As a New Wave star, Moreau rejected, the overly constructed image of the French female, that dominated the persona of previous stars. Unlike previous

Agnès Varda made several films during the New Wave that were pertinent to women. She herself is in an atypical profession in the male dominated industry of film. She continues to challenge male-dominated filmmaking and creates films and characters that also challenge the traditional role of women. Any preconceived notions of what a woman should be are nowhere to be seen in Varda’s films. Feminism is manifested in many of Varda’s films. She shows the journey of different women in a male dominated society. Cléo in Cléo from 5 to 7 goes through her journey trapped by the male gaze, imprisoned. However, Mona in Vagabond chooses to be free from it, the camera and its gaze does not bind her. These films seem to be strongly interested in the