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.