What is the French New Wave?

"New Wave" film is one of the most dazzling, rapid and thorough events in film history. What is most often praised by everyone is the wonderful films made by many young people with different personalities. The role of film criticism in film creation is not as important as whether the film academy can make a film, the influence of the overall change of equipment on creation, the vitality of youth films, the interaction between film reform and social reform, and so on. These topics are always new. For example, now China's film criticism is very weak, divorced from creation, saying it is good or not. For example, whether all kinds of film education cultivate film talents or cultivate TV generalists, for example, digitalization has insufficient influence on the complexity of equipment and changed the technological process. What can creation do besides adaptation, such as "appointing" film creators from generation to generation, and so on.

After the Wave-A Sketch of French Films after 1960s, a film manual, continues to accompany the young French film movement. After the first issue of "New Wave", after the first generation of editors Truffaut, Godard, Levitt, Chabrol and Rommel, Luc Moulay, Andre Daisy, bhaskar Carney and Jean-Louis Comoli appeared one after another, then Serge Le Veron, Danielle Dubruk and Leo Gabruk, and some people became. Paul Vicia tried to push a group of young writers with similar interests to form a collective through _ production companies ("Diagonal Film Company"). Among them are Jean-Claude Gigit, Marie-Claude Teleru, Jean-Claude Bier, Jacques Davila and Girard Fruit-Gudaz, but this attempt is marginal, because their exploration results and international influence are always very limited. Except Andre Daisy, after a difficult start, he successfully occupied Fran?ois Truffaut's support in the field of film production, starting with 198 1 filming American Hotel and ending with My Favorite House (1993) and Thief. The late 1960s to the late 1970s was a transitional period for French films. The aftermath of the "new wave" is still shaking, and the traditional film form has begun to attract people's attention. Some experienced artists have combined tradition with "new wave" technology to make films with rich individuality, such as bunuel's The Prudent Charm of the Bourgeois (1972), The Vague Purpose of Desire (1977) and Bresson's Four Nights of the Dreamer (19766). The founders of the "New Wave" began to divide, and Godard continued his deviant purpose, holding works with far-left views such as Girls in China (1967) and Weekend (1967). Truffaut returned to tradition; He made films such as The Story of Adele Hugo (1975) and The Last Subway (1980). Alain resnais continued his exploration of time and psychology, and contributed to French films such as Destiny (1975) and My American Uncle (1980). In addition, costa gavras's Z (1968), Confession (1969), Yves Boisset's Murder (1972) and Michelle Drache's Violin at the Ball (1973). In the mid-1970s, there was a climax of pornographic movies in France, but it soon disappeared. "New Wave" is a famous aesthetic revolution in film history. In this sense, the only inheritors of 1959' s "new wave" are Jean Eustache (from the harmful association of 1963 to the photo of alix of 198 1) and Philip Karel (from the bed of the Virgin of 1969). A kiss in 1989 and I can't hear the sound of guitar in 199 1), and they continue the experiments and explorations of the pioneers of the "new wave" in their own way. Although there was no large-scale innovation movement in French films in the 1980s, many talented new people emerged, which brought great vitality to French films. Some of them are not young, but as far as film abnormal works are concerned, they are still newcomers in the 1980s, such as Claude Behei, who developed from an early producer and actor to directing Jean de Flores, Ganquan Paiyi and other blockbusters, and also served as Bear and Lover. ……

Under the influence of Bazin's theory and Italian neo-realistic movies, the author's film style of "New Wave" (also known as "film handcraft" and "author's film") mostly records or expresses an event and some characters in a focused way. So there is a strong documentary, and many movies have a strong personal biography color. For example, Truffaut's debut, Run amok, and his sequels, I Kiss, Twenty-year-old Love, Husband and Wife Life, etc. These films have conquered the audience with unprecedented truth and sincerity. Godard said: "The sincerity of the new wave lies in its good performance of life and things it is familiar with, not things it doesn't understand." . The author's films often integrate screenwriter, director, self-criticism, music and even production, forming a unified production method. From the perspective of film concept, the "new wave", like the avant-garde, challenged the traditional film concept, and these two film aesthetic movements were both powerful blows to commercial films. Formally, New Wave and Italian neo-realism movies have a lot in common, but the difference is that New Wave and Neo-realism are different in the theme and content of the movies. "New realism" has great sociality, while "New Wave" has strong personal color.

Subject: Non-political movies. In the works of New Wave, the characters seem to come to the world with the wind, and wander in the world with the wind, blowing in the wind. Exhaustion is the best illustration of this. Become a film that denies traditional moral values. One of the achievements of the "new wave" is that it overcomes some taboo steel, tries to describe the sincerity of men and women and love, and exposes hypocrisy. They are interested in what really happens, rather than being bound by the traditional concepts of "good" and "evil". Jules and Jim (1962) filmed by Truffaut is the most representative. French website finishing Myfrfr.com

Photography method: The photography style focuses on film photography, while the photographer focuses on the freshness of the picture and refuses functional or pedantic picture making. They appear in a brand-new naturalistic photography style. This is closely related to the name of Raoul Goudal. Goudal is Godard's inseparable photographer. He shot all Godard's films from 1959 to 1968, some of which were Truffaut's films. Due to the low production cost and short production cycle of New Wave, the director and performance style of live shooting and improvisation determine Goudal's photography style. He uses more natural light and weak light in photography. He created shooting methods similar to documentaries or newsreels, such as shoulder shooting, follow-up shooting, snapshot shooting, etc., and formed a very strong realistic style. These styles of Goudal endow the film with a natural, realistic and accidental creative style. In the works of "New Wave", not only the integrity of film time and space, sense of rhythm and movement are taken into account, but also a large number of long lenses and depth-of-field lenses are used, especially some very flexible mobile phone photography. Q- Gueudar said: "Photography is a moral issue". He raised the pursuit of aesthetics to the height of theory. Since then, follow-up, telephoto, zoom, freeze-frame, continuous panoramic photography, framing adjustment and camera tremor have been used as artistic means.

Sound processing: New Wave uses a lot of natural sound environment to increase the realism of its works. Sometimes the dialogue of the characters is drowned in the stereo. At that time, because of less investment, most of them were recorded at the same time, and the production cycle was short, which was the most economical way. Editing: Montage is no longer a means of expressing thoughts and explaining psychology here, but only a means of cutting time and space. The directors of New Wave are interested in the length and rhythm of the film. They realized the method of quick editing and increased the number of shots in the film. The traditional ways of dialogue, such as blocking, personification and fading out, are cancelled, and the direct connection between shots is adopted, skipping the relationship between time and space. This splicing undoubtedly accelerates the visual rhythm of the audience and reduces the complexity of the narrative. The use of long shots is to increase the real color of the film. The method of quick editing is to increase the visual rhythm. Since the "New Wave", the long shots of Truffaut and claude chabrol, the jumping and quick editing of Godard have become the basic artistic means of contemporary French films, which have continued to this day. French website finishing Myfrfr.com

Performance: Contrary to the traditional star system, they used a large number of unknown young people as actors. At the same time, they also learn from the way of unprofessional actors in Italian new realistic films and the "no performance" style of James Earle Deese and Marlon Brando. At the same time, the directors of "New Wave" also appeared in their films. In fact, the "New Wave" also created its own stars: bernadette lafont and Jean-Paul belmondo. Their performance is totally divorced from drama, and it is true, simple and natural. In short, "New Wave" doesn't care about the traditional language and grammar of movies. They adopt a very flexible production principle, and the director does not pursue what to do and what not to do, but pursues his own style and does whatever he wants, thus forming the concept of "author film". At the same time, this concept has also influenced Germany, Japan, the United States and even the whole world.