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Chis Wiegand

French New Wave

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The directors of the French New Wave were the original film geeks — a collection of celluloid-crazed cinéphiles with a background in film criticism and a love for American auteurs. Having spent countless hours slumped in Parisian cinémathèques, they armed themselves with handheld cameras, rejected conventions, and successfully moved movies out of the studios and on to the streets at the end of the 1950s. By the mid-1960s, the likes of Jean-Luc Godard, François Truffaut and Claude Chabrol had changed the rules of filmmaking forever, but the movement as such was over. During these key years, the New Wave directors employed experimental techniques to achieve a fresh and invigorating new style of cinema. Borrowing liberally from the varied traditions of film noir, musicals and science fiction, they released a string of innovative and influential pictures, including the classics Le Beau Serge, Jules et Jim and A Bout de Souffle. This Guide reviews and analyses all of the major films in the movement and offers profiles of its principal stars, such as Jean-Paul Belmondo, Anna Karina and Brigitte Bardot. An introductory essay, Making Waves, examines the social context of the movement in France as well as the directors' considerable influence on later generations of filmmakers across the globe. A handy multi-media reference guide at the end of the book points the way towards further New Wave resources.
Эта книга сейчас недоступна
131 бумажная страница
Правообладатель
Bookwire
Дата публикации оригинала
2012
Год выхода издания
2012
Издательство
Pocket Essentials
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  • polyxeneцитирует2 года назад
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  • polyxeneцитирует2 года назад
    As Truffaut had with Les Quatre Cents Coups, Godard shot the film on the streets he knew. ‘This documentary interest in places comes from the Nouvelle Vague,’ he told Film Comment in a 2005 interview concerning Notre Musique. ‘One of the things that bothered us in the French “tradition of quality” films was the complete lack of interest in places, which were neither understood nor looked at. When I put Belmondo and Jean Seberg on the Champs Elysées, it was because I walked up that avenue every day.’
  • reizen99186цитирует3 года назад
    Filmed nine years after its predecessor, Domicile Conjugal, this finale to Truffaut’s Antoine Doinel cycle delivers none of the drama suggested by its title, but instead finds Antoine looking back on his life after his break-up with Christine (Claude Jade). Cue a patchwork of clips from the earlier films, which serves to stir nostalgia for the peerless Les Quatre Cents Coups and emphasises the questionable necessity of a fifth episode in the story of Truffaut’s cinematic alter-ego.

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