The new wavedid not have an aesthetic program, it was simply an attempt to regain some independence lost around 1924, when the films have become too expensive, a little before speaking. Francois Truffaut.
The term “New Wave” comes from an investigation launched by the “Express” in collaboration with the FIFG on the new youth in 1957. The survey published between October and December. In free movies online you can have the finest options.
“The new wave arrives”
The expression will then be used by journalists to describe the emergence of a new film movement initiated mainly by François Truffaut, Jacques Rivette, Eric Rohmer, Jean-Luc Godard and Claude Chabrol.
Following the great success of the Four Hundred Blows (François Truffaut receives the prize for the best staging at Cannes in 1959), these young directors are the subject of all attention: they are sometimes praised sometimes criticized. Indeed, they advocate a radical break with the French cinema in place. They reject the cinema called “quality cinema” proposed by their elders. They accuse him of not being in phase with his time, not to give to see the youth as it is, to rely on an outdated aesthetic worked mainly in the studio.
- Very hierarchical and corporatist, the film industry does not allow this young generation to try its luck: for these new filmmakers, it is therefore essential to win. To do this, they write in several magazines including “Cahiers du Cinéma” created in 1951 by André Bazin and Jacques Doniol-Croze. The realization is for them the natural extension of their critical activity.
- So they come to realize their first short films towards the end of the 1950s. Like Les Mistons (François Truffaut – 1958) or All the boys are called Patrick (Jean-Luc Godard, 1957).
The common point of these filmmakers is to make films for a budget corresponding to one third of a conventional budget. Mastering the budget constraint allows them to experiment more freely. It is a question of turning quickly, in exterior decoration, with little equipment and light tools. They use light cameras that can be put on the shoulder like the camera. They also use ultra-sensitive films to limit extra lighting. It remains the problem of sound: the light cameras are still too noisy to turn in live sound. These first films are often post-synchronized.
François Truffaut andthe new Wave:
In his analyzes of the director of The Quiet Man, Truffaut explains how, by becoming himself a director, “he has completely returned [his] jacket” (p.31): this radical change of point of view highlights the inflection of critical work under the influence of the new creator. The critic-filmmaker expresses his admiration for one of his dearest masters: Jean Renoir, who is one of the few French – with Jean Vigo and Abel Gance to appear in this series.
François Truffaut also wrote in the 1950s for the weekly Arts, which appealed to him after the publication in 1954 of his famous article entitled “A certain trend of French cinema”, which attacked head-on the psychological realism of cinema called “de the tradition of quality “. The young critic clearly breaks with directors such as Claude Autant-Lara, René Clément and Jean Delannoy and advocates a “politics of authors” favoring staging.
The two filmmakers that Truffaut admired most and who each had a decisive influence on his work are Jean Renoir and Alfred Hitchcock.