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New Wave Cinema

Decent Essays
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 writing in Cashiers du Cinema, that the New Wave reacted in the late 1950’s and 1960’s.”

Camera-stylo, which would permit the cinema “to become a means of expression as supple and sbutle as that of written language and would therefore accord filmmakers the status of authors. Astruc’s notion was to break away from the tyranny of narrative in order to evolve a new form of audiovisual language” (Cook, 350). Astruc went on to describe how the problem of the cinema is how to express thought. “The creation of this language has preoccupied all the theoreticians and writers in the history of cinema, from Einstein down to the script-writers and adaptors of the sound cinema” (Cook, 350).
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It is described as a “lyrical but wholly unsentimental account of an adolescent delinquent, shot on location in Paris” (Cook, 352).

The French New Wave was all about freedom and how it should seem personal. The 400 Blows does just that by telling us a story about a boy “coming of age.” As part of the New Wave, for The 400 Blows, the movie was not only shot on location, but natural lighting was used to give the movie a realistic film. In addition to this, many producers/directors during this time used mobile cameras (handheld). These were many characteristics that these artists used in their films. It was real and it was raw and it was just the beginning for
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