History and developments of French New Wave

The French New Wave, or “Nouvelle Vague”, was an essentially pan-continental cinema. It was influenced by both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood Renaissance, the uniquely creative period of American filmmaking running approximately from 1967 until 1980. (Miller, 2010) The French New Wave was leaded by an influential group of critics (Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Francois Truffaut) who wrote for Cahiers du Cinema, a French film journal. The filmmakers loosely grouped into this so-called ‘jeune cinema’ were in their early thirties. During the period of 1959 – 1960, the sixty-seven filmmakers were making their first feature film, only 55 per cent came from backgrounds not directly attached to filmmaking, and the remaining 45 per cent was made up of short film directors (like Alain Resnais or Agnes Varda) and film assistants. (Hayward, 2006) Cahiers du Cinema was a motion against the traditional French cinema, which was more literature than cinema. It also gave birth to such ideas as “la politique des auteur”, jump cuts and the unimportance of linear structure, if only to name a few. Mostly important, the French New Wave brought out a radical sense of change in cinema what would disseminate throughout the world.

            The Nouvelle Vague term was originally created by Francoise Giroud in the late 1950s hence the term became correlative with the current trends in cinema very quickly. The current trends meant that producers in the late 1950s wanted film made by both on screen and behind the camera. This requirement helped to advance a new wave of filmmakers on to the screen. However, the older guard of filmmakers who had held the bridles from 1930s – 1950s that created a gap for a new wave of filmmakers who in turn became correlative in the minds of people with the Nouvelle Vague.

            In 1958, Le Beau Serge (1958) by Chabrol and Les 400 Coups (1959) by Truffaut were listed as the pioneer of the New Wave, then succeed by A bout de soufflé (1959) by Godard and Hiroshima mon Amour (1959) by Resnais. On the other hand, Cahiers du Cinema was influenced on the theoretical writing of filmmaking process which proposed the primacy of the auteur and mise-en-scene. Low-budget, non-studio films were being made during that time. In fact La Pointe (1954) by Agnes Varda is frequently quoted as the pioneer of this movement. Varda’s intentionally confusing editing style is one of the important features of her cinematic style which influenced by Resnais’s filmmaking practices.

            In fact the French New Wave filmmakers were largely non-politicized because they have placed their narratives in contemporary discourses which are viewing the bourgeoisie from the point of view of youth.

            The French New Wave started embarking and developing its journey in 1958. It held its active period until 1964. In the late 1950s, New Wave directors found golden opportunities and met fortunate coincidences to produce their films. After World War II, French’s economy was devastated and it experienced high inflation (Casella, 1991). Filmmaking by that time had always been a costly business and without the backing of a major studio, the filmmaking probably would be bid farewell.

            Although the economy of French was not in a good shape that time, with the financial support and subsidies given from Gaullist government to its people after the war, the filmmaking industry was slowly improving. In 1958, a further act of "Constitution of the Fifth Republic" has been introduced, resulted more financial support to be available for the first time filmmakers than ever before. French’s economy was growing healthily since after the introduction of that constitution. Private financial investment became more readily available and new directors were welcome to be supported by the distributors.

            With the introduction of new technology of filmmaking in late 1950’s, the filmmaking equipment was becoming cheaper and more affordable to the new directors. Therefore, this advanced technology boosted and provided a comfortable path for New Wave directors to develop their journey. New, lightweight, hand-held cameras, developed by Éclair Company were used in documentaries. Faster film stocks, which required less lighting, and light-weight sound and lighting equipment were introduced that time. These advanced equipment improved the filmmakers’ flexibility to make a film. They could make their films at their favorite locations rather than in the studio. With the good portability of the advanced equipment, it encouraged experimentation and improvisation and gave the directors more artistic freedom over their work.

Portable camera eases the production of film making

French New wave widens the choice of shooting place for filmmakers

            All in all, the French New Wave is one of the most significant film movements in the history of the cinema. It dramatically changed the filmmaking inside and outside of France by encouraging new styles, themes, and modes of production throughout the world. With no doubt, the inaugural French New Wave and advanced filmmaking technology in that era, have inspired and given rise to the new movements in films such as British New Wave, New German Cinema and Iranian New Wave.