Cleo A 7 Essay

CYPOP 17: understanding the needs of children and young people who are vulnerable and experiencing poverty and disadvantage;

During the 1950s, teenagers were starting to create their own identity. Compared to how teenagers acted in previous generations, teenagers in these years were different. Teenagers in this time period gained freedom and independent. Teenagers were able to have fun during these years. They also rebelled against being conservative and conforming into what the adult society wants them to act. Their beliefs and attitudes were distinct from what their parents thought. Teenagers had different groups that they belonged to. Hipsters, rockers, beatniks, squares and teeny-boppers were the five diverse groups of fifties teenagers. Also, they did not follow what their parents like. The way they talked, music and fashion evolved and became a part of the youth culture. Rock and roll became a great influence in a teenager’s life. Many parents did not approve of this music as they described it as revolting, vulgar and thought it was influencing their child in a terrible way. This created a generation gap between parents and the teenagers. The teenagers were starting to mark, able to express who they are, which had many

Youth culture

Cléo from 5 to 7, directed by Agnes Varda, is a film about one woman’s struggle to come to terms with the possibility of her potential illness. Not only is Cléo struggling with her physical health, but she is also dealing with her beauty and the consequences of being an attractive woman in the modern world of the 1960s. When examined through the lens of Laura Mulvey’s “Visual Pleasure and Narrative Cinema” theory, another aspect of the film comes to light. The film seems to objectify Cléo and thus trivialize her struggles with others’ perceptions of her throughout the film by adhering to the construct of the male gaze. Although Cléo from 5 to 7 appears to play into the construct of the male gaze through the repeated objectification of Cléo, it actually subverts this idea and instead confronts the viewer, and the notion of women as passive objects to be viewed.

This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). Hollywood produced films of the time used a very limited variation in film techniques such as camera, acting, mise-en-scene, editing and sound. This can be mainly attributed to the low innovative thought of creative and expressive camera movements, angles, etc… due to technological hindrances. In particular, this film analysis will de-construct the filmmaking elements of the revelatory French New Wave movement in Truffaut’s The 400 Blows ending scene (01:34:42 – 01:39:32) portraying the main character Antoine Doinel’s escape from juvie and trek to the bespoken beach.

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

French New Wave was a cinematic movement that was active between the late 1950’s and the late 1960’s though the origins go back to german occupied France from the early 1940’s. Following the liberation of 1944, France saw the end of restrictions of media imposed by german occupation and the cinema became more popular than ever, with a stockpile of banned American films starting to flow in and France ramping up film production once again. Despite this by the early 1950’s it became more popular opinion by both critics and audiences that had become, for a lack of a better word, stale, getting bogged down in an endless cycle of “ generic historical reconstructions and uninspired literary adaptations… French Cinema was said to be in desperate need of a new direction ” (Neupert, 17). During this time the film magazine, Cahiers du Cinema, was founded. Some of its young writers, such as

film were the camera angles such as close ups and editing, , motifs, the lighting was one such where

Cléo from 5 to 7 (Cléo de 5 à 7) is Agnés Varda’s third film that brought her international fame and respect. Directed by a Belgic born French female director, the film incorporates existentialism, feminism by completely destroying the border between the reality and the surrealism. Cléo from 5 to 7 contains the aspects of documentary and fictional elements at the same time and portrays a life of a spoiled young singer Florence “Cléo” victoire who nervously awaits her medical results through 5 PM till 7 PM on June 22nd. The film is all about the conflicting moments in general – artificiality and realism, bright musical comedy and tragic drama, loveliness and grotesqueness Cléo experiences while walking along the streets, and the meaning of life

The film genre of French New Wave brought many new ideas to the table, and challenged the techniques of classic Hollywood cinema, not just recreating something that has been done, but doing something new with it. Breathless (1960) is in many ways the antithesis of classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave.

I believe this is how the film industry transformed from classical Hollywood to New Hollywood. This drastic change was related to the downfall that the film industry took due to the events that occurred post war which was around the late 60s. During this time theater admissions began to decline and the demand for home entertainment began to arise. Living in the suburbs and making families seemed like the best thing for Americans to do during this period. Because of this filmmakers had to figure out what film is right for which audience. Another factor that caused the downfall of the film industry related to throwing the old out and embracing the new. Because American filmmakers began to see the high demand for the European art- films, they began to borrow some of the same tactics used in those films to create new films. Within these films there were new stylistic elements as well a more relatable narrative structure. Most films during this time began to cater to a newer, fresh younger

Although European and American films seem to be worlds apart, filmmakers began to use the same technology and techniques; and this led to major competition between filmmakers who were worlds away from each

Introduction Film, as an art form, demonstrates gradual change and the development of new techniques that propel it forward in society. Within film, multiple different movements include technical and plot elements that are unique to that specific time period. Two of the most iconic film movements, the german expressionist and the film noir movement, demonstrate highly stylistic elements that are only used or seen in that volume during the time periods of the 1930s and 1940s. Mise en scene, diegesis, and musical score are important aspects of each of these film movements and were implemented to create a unique style of film. Films within a movement are distinguishable due to the physical elements seen on screen that reflect the public feelings

Film Noir as a genre is set in a specific period of time. It is also a genre that is considered to be related to a specific society - that of America from 1940-1958. Film Noir as a genre is a term that French critic Nino Frank coined to describe the new “film movement” emerging from Hollywood in the 1940’s, which appeared to be black and white, crime and detective films. But these two prominent characteristics do not form the genre alone. Stylistic film features such as mood, style and tone are very eminent in Film Noir however it was not always considered as a film genre, but this is what makes the film genre so distinctive. Film Noir was a “new movement” or cycle of films as it consisted of expressionistic lighting techniques such as low

Android Oreo has at last been fully baked, and if you are one of the Pixel, Pixel XL, Nexus 5X, Nexus 6P, or Pixel C users then you can taste this Oreo right now. Google says a bunch of other handsets will get Oreo by the end of the year too. There aren’t a ton of new features in Android 8.1 compared to Android 8.0, but some handy changes have been made. Don’t own a Nexus or Pixel devices? Not to worry. Google says it’s working with partners including Essential, General Mobile, HMD Global Home of Nokia Phones, Huawei, HTC, Kyocera, LG, Motorola, Samsung, Sharp and Sony to launch or upgrade devices to Android 8.0 Oreo by the end of this year. Android Oreo could mean faster updates for your Android phone.