"Nouvelle Vague" redirects here. For the music group, see Nouvelle Vague (band). For other uses, see Nouvelle Vague (disambiguation).
|Years active||1958 to late 1960s|
|Major figures||Alain Resnais, André Bazin, Jean-Luc Godard, Jacques Demy, François Truffaut, Éric Rohmer, Claude Chabrol, Jacques Rivette, Agnès Varda|
|Influences||Italian neorealism, film noir,classical Hollywood cinema,poetic realism, auteur theory, Parisian cinephile culture, existentialism, Alfred Hitchcock|
|Influenced||L.A. Rebellion, New Hollywood, New German Cinema, Cinema Novo, Dogme 95|
New Wave (French: La Nouvelle Vague) is a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s.
Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of youthful iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. "New Wave" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm.
Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end.
Origins of the movement
Alexandre Astruc's manifesto "The Birth of a New Avant-Garde: The Camera-Stylo", published in L'Écran on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and the Cahiers du cinéma. It argues that "cinema was in the process of becoming a new means of expression on the same level as painting and the novel ... a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the caméra-stylo."
Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the famous film magazine Cahiers du cinéma. Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called auteur theory. (The original French La politique des auteurs, translated literally as "The policy of authors".) Cahiers du cinéma writers critiqued the classic "Tradition of Quality" style of French Cinema. Notable among these was François Truffaut in his manifesto-like article "Une Certaine tendance du cinéma français". Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. These men of cinema valued the expression of the director's personal vision in both the film's style and script.
Truffaut also credits the American director Morris Engel and his film Little Fugitive (1953) with helping to start the French New Wave, when he said "Our French New Wave would never have come into being, if it hadn't been for the young American Morris Engel who showed us the way to independent production with (this) fine movie."
The auteur theory holds that the director is the "author" of his movies, with a personal signature visible from film to film. They praised movies by Jean Renoir and Jean Vigo, and made then-radical cases for the artistic distinction and greatness of Hollywood studio directors such as Orson Welles, John Ford, Alfred Hitchcock and Nicholas Ray. The beginning of the New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves.
Apart from the role that films by Jean Rouch have played in the movement, Chabrol's Le Beau Serge (1958) is traditionally (but debatably) credited as the first New Wave feature. Truffaut, with The 400 Blows (1959) and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish. Part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification.
The auteurs of this era owe their popularity to the support they received with their youthful audience. Most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. With high concentration in fashion, urban professional life, and all-night parties, the life of France's youth was being exquisitely captured.
The French New Wave was popular roughly between 1958 and 1964, although New Wave work existed as late as 1973. The socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to fall back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French "cinema of quality", the type of high-minded, literary period films held in esteem at French film festivals, often regarded as "untouchable" by criticism.
New Wave critics and directors studied the work of western classics and applied new avant garde stylistic direction. The low-budget approach helped filmmakers get at the essential art form and find what was, to them, a much more comfortable and contemporary form of production. Charlie Chaplin, Alfred Hitchcock, Orson Welles, Howard Hawks, John Ford, and many other forward-thinking film directors were held up in admiration while standard Hollywood films bound by traditional narrative flow were strongly criticized. French New Wave is influenced by Italian Neorealism and classical Hollywood cinema.
In a 1961 interview, Truffaut said that "the 'New Wave' is neither a movement, nor a school, nor a group, it's a quality" and in December 1962 published a list of 162 film directors who had made their feature film debut since 1959. Many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring at the well-known members of the New Wave and today would not be considered part of it. Shortly after Truffaut's published list appeared, Godard publicly declared that the New Wave was more exclusive and included only Truffaut, Chabrol, Rivette, Rohmer and himself, stating that "Cahiers was the nucleus" of the movement. Godard also acknowledged filmmakers such as Resnais, Astruc, Varda and Demy as esteemed contemporaries, but said that they represented "their own fund of culture" and were separate from the New Wave.
Many of the directors associated with the New Wave continued to make films into the 21st century.
The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Week End). Also, these movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence. Filled with irony and sarcasm, the films also tend to reference other films.
Many of the French New Wave films were produced on tight budgets; often shot in a friend's apartment or yard, using the director's friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots.) The cost of film was also a major concern; thus, efforts to save film turned into stylistic innovations. For example, in Jean-Luc Godard's Breathless (À bout de souffle), after being told the film was too long and he must cut it down to one hour and a half he decided (on the suggestion of Jean-Pierre Melville) to remove several scenes from the feature using jump cuts, as they were filmed in one long take. Parts that did not work were simply cut from the middle of the take, a practical decision and also a purposeful stylistic one.
The cinematic stylings of French New Wave brought a fresh look to cinema with improvised dialogue, rapid changes of scene, and shots that broke the common 180° axis of camera movement. In many films of the French New Wave, the camera was used not to mesmerize the audience with elaborate narrative and illusory images, but rather to play with audience expectations. Godard was arguably the movement's most influential figure; his method of film-making, often used to shock and awe audiences out of passivity, was abnormally bold and direct. As a result of his techniques, he is an early example of a director who was accused of having contempt for his audience (something experimental filmmakers in the decades ahead, like Stanley Kubrick and David Lynch, would also be charged with). His stylistic approach can be seen as a desperate struggle against the mainstream cinema of the time, or a degrading attack on the viewer's supposed naivety. Either way, the challenging awareness represented by this movement remains in cinema today. Effects that now seem either trite or commonplace, such as a character stepping out of their role in order to address the audience directly, were radically innovative at the time.
Classic French cinema adhered to the principles of strong narrative, creating what Godard described as an oppressive and deterministic aesthetic of plot. In contrast, New Wave filmmakers made no attempts to suspend the viewer's disbelief; in fact, they took steps to constantly remind the viewer that a film is just a sequence of moving images, no matter how clever the use of light and shadow. The result is a set of oddly disjointed scenes without attempt at unity; or an actor whose character changes from one scene to the next; or sets in which onlookers accidentally make their way onto camera along with extras, who in fact were hired to do just the same.
At the heart of New Wave technique is the issue of money and production value. In the context of social and economic troubles of a post-World War II France, filmmakers sought low-budget alternatives to the usual production methods, and were inspired by the generation of Italian Neorealists before them. Half necessity and half vision, New Wave directors used all that they had available to channel their artistic visions directly to the theatre.
Finally, the French New Wave, as the European modern Cinema, is focused on the technique as style itself. A French New Wave film-maker is first of all an author who shows in its film his own eye on the world. On the other hand, the film as the object of knowledge challenges the usual transitivity on which all the other cinema was based, "undoing its cornerstones: space and time continuity, narrative and grammatical logics, the self-evidence of the represented worlds." In this way the film-maker passes "the essay attitude, thinking – in a novelist way – on his own way to do essays."
The Left Bank, or Rive Gauche, group is a contingent of filmmakers associated with the French New Wave, first identified as such by Richard Roud. The corresponding "right bank" group is constituted of the more famous and financially successful New Wave directors associated with Cahiers du cinéma (Claude Chabrol, François Truffaut, and Jean-Luc Godard). Unlike the Cahiers these directors were older and less movie-crazed. They tended to see cinema akin to other arts, such as literature. However they were similar to the New Wave directors in that they practiced cinematic modernism. Their emergence also came in the 1950s and they also benefited from the youthful audience. The two groups, however, were not in opposition; Cahiers du cinéma advocated Left Bank cinema.
Left Bank directors include Chris Marker, Alain Resnais, and Agnès Varda. Roud described a distinctive "fondness for a kind of Bohemian life and an impatience with the conformity of the Right Bank, a high degree of involvement in literature and the plastic arts, and a consequent interest in experimental filmmaking", as well as an identification with the political left. The filmmakers tended to collaborate with one another.Jean-Pierre Melville, Alain Robbe-Grillet, and Marguerite Duras are also associated with the group. The nouveau roman movement in literature was also a strong element of the Left Bank style, with authors contributing to many of the films. Left Bank films include La Pointe Courte, Hiroshima mon amour, La jetée, Last Year at Marienbad, and Trans-Europ-Express.
Influential names in the New Wave
Cahiers du cinéma directors
Left Bank directors
Other directors associated with the movement
Actors and actresses
Notes and references
- ^ abcdMarie, Michel. The French New Wave : An Artistic School. Trans. Richard Neupert. New York: John Wiley & Sons, Incorporated, 2002.
- ^Archived 11 May 2008 at the Wayback Machine.
- ^Thompson, Kristin. Bordwell, David. Film History: An Introduction, Third Edition. McGraw Hill. 2010, p.407–408.
- ^"La Camera Stylo - Alexandre Astruc". from "The French New Wave", edited by Ginette Vincendeau and Peter Graham. March 30, 1948. Retrieved June 13, 2017.
- ^Marie, Michel (2008). The French New Wave: An Artistic School. John Wiley & Sons. p. 31. ISBN 9780470776957.
- ^Thompson, Kristin. Bordwell, David. Film History: An Introduction, Third Edition. McGraw Hill. 2010, p.407
- ^Sterritt, David. "Lovers and Lollipops". TCM.com. Turner Classic Movies. Retrieved September 6, 2016.
- ^Thompson, Kristin. Bordwell, David. Film History: An Introduction, Third Edition. McGraw Hill. 2010, p.409
- ^Brody, Richard (2008). Everything is Cinema: The Working Life of Jean-Luc Godard. New York, NY: Metropolitan Books. pp. 122–123. ISBN 978-0-8050-8015-5.
- ^Scott, A. O. (June 25, 2009). "Living for Cinema, and Through It". The New York Times.
- ^Champs-Élysées street scene in Godard's Breathless. Girdner, Ashlee (March 11, 2013). "Back to the Scene: The Champs Elysees in Breathless and Beyond". Bonjour Paris. Retrieved April 2, 2016.
- ^"Breathless (1960)" – via www.imdb.com.
- ^Pasolini, Pier Paolo (1988–2005). Heretical empiricism. New Academia Publishing. p. 187 of the Italian Edition published by Garzanti in 1972. ISBN 9780976704225. ISBN 0-9767042-2-6.
- ^Sainati, Augusto (1998). Supporto, soggetto, oggetto: forme di costruzione del sapere dal cinema ai nuovi media, in Costruzione e appropriazione del sapere nei nuovi scenari tecnologici (in Italian). Napoli: CUEN. pp. 154–155.
- ^ abcd"The Left Bank Revisited: Marker, Resnais, Varda", Harvard Film Archive,  Access date: 16 August 2008.
- ^Thompson, Kristin. Bordwell, David. Film History: An Introduction, Third Edition. McGraw Hill. 2010, p.412
- ^ abJill Nelmes, An Introduction to Film Studies, p. 44. Routledge.
- ^Donato Totaro, Offscreen, Hiroshima Mon Amour review, 31 August 2003.  Access date: 16 August 2008.
- ^ abcNew Wave Film.com, "Where to Start Guide", section outlining directors. Accessed 30 Apr 2009.
VIDEO ESSAY-RAOUL COUTARD
SPEAKER 1: The French New Wave for a brief moment ripped apart classical cinema and established their own language of cinema, but what fascinates me here today is the genesis of the French new wave and how Raoul Coutard cinematography plays a relatively unsung new brawl in the French New Wave’s look.
A quick new cap on what the French New Wave is, there were these four film critics who had an ambitious purpose in making film.
RICHARD BRODY: To do in cinema what (name 42) did in philosophy but in his view to do it better because of the distinctive ecstatic capacities of film.
SPEAKER 1: These four cinifiles(54) love film and distained conventional cinema they stopped searching for films they liked and jumped right into making their own films with essentially no training whatsoever.
During their inception they usually film on location and with either no crew or equipment beyond one camera and one camera man.
Raoul Coutard’s background id fascinating he was a war photographer and this became essential for him to work with someone as impossible as John the running gun style is perfect for the theme of Breathless the first Godard film.
It was simple audaciously un done before and only as open of mind as Coutard had been on board, but see that’s why Raul Coutard seems more and more to be the only cinematographer that could have worked with these types.
Raul Coutard had no reputation before his first films with the new wave directors because otherwise like trained cinematographers he would have been caught up in conventions and feared his reputation being on the line as an unconventional method pervaded the scenes.
Raul Coutard styles is described as having no style he was all over the place and I mean that in the best of ways this made sense as Coutard had no come to the industry with any text book training in fact he came with no training at all except with still photography.
Just another aspect of Coutard’s perspective towards film making that meant that he must have had truly an open mind.
See Coutard would just give the actress dialogue as they went along from shot to shot. They would walk into a space and Coutard would just say put the camera over there but what about something as crazy as to insure that no passerby would look into the camera when filming Breathless .
They would hide the camera in a low postman’s cart and go push is along (3:13)right next to the camera hunched down inside the cart as well. So why does this matter why didn’t they just earn the money to film conventionally, because to them the conventional cinema time was far detached from French life at the time not only was there a goal to observe French life but to also interpret meaning from life in general.
What did it mean to be in love or to search one’s self for identity? What did it mean to be alive and how to fight the of nihilism. What is French cinema and what is American cinema. What does it mean to make films most importantly what it mean to truly go along in natural moments.
Raoul Coutard’s shots never lost the sense of natural lightning. Raoul Coutard never loss the sense of a hand held.
After years of revolution finally (4:23) and in the time still shoots his films like old times. After years of frustrations, the marginalized critics felt the disdain for conventional cinema revolutionized filmmaking with their unconventional cinema techniques forwarding a philosophical meditation on world views to the medium of films and doing a completely low budget.
All it took were open minds working on films pushing the medium further, who better than to be the hand that paint the picture than him. Who better to be the cinematographer for the French New Wave than Raoul Coutard.
THE RULES OF EDITING FRENCH & AMERICAN
After world war two Hollywood continue to make movies in the same way it had before the war although editors were now unionized they were viewed for the most part as highly skilled mechanics.
PAUL HIRSCH: There was a man names Owen Marks he edited Touch by Forrest, Casa Blanca, Treasure Sierra Madre, East of Eden and his films are immortal and the man is completely unknown and it is sort of symbolic of the way editors have been ignored in the literature about Hollywood.
SPEAKER 1: Editors worked on Cutters Row and were expected to conform to the established rules of editing.
CAROL LITTLETON: If we were to think about the films that were being made there were a certain film language that were very, very distinct certain kinds of coverage long shot two shot single, single there was almost a formulate way of presenting films. This film language was very strict and in editorial terms there were rules that one felt could not be broken.
DEDE ALLEN: A master shot had to come first and then if you had an overshot then over shoulder and you never went to the close up until you have done the whole dance coming from far to close.
CAROL LITTLETON: For instance if you are going to have a transition from one place to the next you will be down for dissolve.
The next thing you got to remember is the gentleman you meet at the cold cut is not as attractive as the one you meet at the milk department at food doors.(1:35)
PAUL HIRSCH: In the forties and fifties the audience would expect a character to drive up and show them getting out of the car he would walk up to the building and then he would open the door and then he would match cut the door opening on the other side and he would walk in and come over and sit down.
ANNE COATES: It just seem to me absolutely stupid you had to show somebody coming down stairs and all the way across the road and to the side I mean you knew they were coming from here and going to there, why couldn’t you just cut directly.
SPEAKER 2: In France a group of film critics turn directors also challenged the doctrine of invisible editing and launched a revolution among editors.
ANNE COATES: When I first saw the (2:23) I instantly loved it I loved the idea I loved the way they edited and thought I would like to cut like that.
JOE DANTE: You know Godard use jump cuts because why not there isn’t nothing interesting happening in these middle parts so let’s cut to the jump cut.
ANTHONY GIBBS: When I saw the betters I was Stuttgart(2:52) at Godard’s brutality
QUENTIN TARANTINO: What they brought to editing was a breaking of the rules whatever books that said this is how it had to be done they burn them.
MARTIN SCORSES: Actress are too hip for me I come from Lorie Simon Italian American guy it is too beat, beat neck it’s like you know bulimia too cool I liked it I don’t know what the hell was happening.
RICHARD CHEW: You know when I first saw breathless in the sixties it was like wow I mean just in the first five minutes sequence and introducing John Paul Armandos character as a petit thief I mean every rule was violated in terms of how long to over shot the discontinuity of what was going on, even screen directions you know were mixed in and I thought either this guy doesn’t know what he was doing or he is so confident that he has the grammar film down that he is trying to show us a new way he used the material he has to tell the story.
RICHARD MARKS: There were some films that we had that really changed our perception of what filmmaking was and certainly it affected what editing was. I mean I think one of those films was certainly something like Bonnie & Clyde.
DEDE ALLEN: Some people say I broke those rues first I certainly did not, I mean the Russian broke those rules and the Germans broke those rules this was nothing new but it was new for Hollywood.
DYLANTICHENOR: Several of those editors have had big impacts on me have influenced my thinking, Dede Allen certainly was the one that taught me that don’t be afraid to take the chance on doing something that doesn’t seem like it is going to work.
When Babe and Faye Donaway get to know each other they are standing on the street corner and she said I don’t believe you rob banks and he said yes I look at my gun and he pulls it out and hold it to her on the street corner and that could easily have been done with the tilt down to the gun the pan over to her hands fidgeting with the coke bottle up to her face, but it was done with her eyes looked from him down to the gun back to him.
It keeps you on edge there is this statement there is the danger there is the eroticism in not being able to fully get every moment because you are cutting off and you are not allowing moment to come to fruition.
RICHARD MARKS: Bonnie & Clyde was much more violent and basically the American likes violence much more than we do.
DEDE ALLEN: Well it was shot in so many wonderful ways this is the scene that Arthur intended be cut in this fashion, the fact that it was so beautifully executed right from the very first cut Jerry Greenburg was my assistant and on that last seen I was with Jerry and he did all the primary editing on that all I did was tighten it later.
RICHARD MARKS: Again one is not saying this is the beginning of the American any way because one is sure there was smaller films before that but this was the one like birth of a nation which suddenly an audio say wow.
Bonnie and Clyde paved the way for films like Easy Rider.
DON CAMBERN: So I had only one feature I was editing while they were travelling which was flowing in by the mile but it was great it was exciting it was totally different from anything I have been involved in these transitions that everybody remembers going in from one scene to the next where it flashed forward to the scene flashes back to the scene you are in.
Dennis didn’t want a straight cut I didn’t want dissolved so we kept throwing around so it is Dennis who scripted part of the idea why went and it came back yes, but let’s us do it three times we finally arrived at the length and each one is six screens and now we can use this whenever we want to and as it turned out it started to have a device and so we stopped doing that we are not going to do we are going to use in discretion places without giving anything away.
Everybody was stoned and they were shitty. I learned sooner on that I could not be stoned and edit while it was going on I thought it was grand and when I looked at it when I was straight I said this is awful and I had to throw it out and start all over.
This film is becoming an icon I am grateful that I had something to do with it because I had grown up in the thirties forties and fifties with movies as they were then. Finally we are going to run it for Columbia with Bill Jackie Chairman of the board it ended there was this long pause Bill finally stands up and he says I dint know what the fuck this picture means but I know we are going to make a fuck of a lot of money.
REAR WINDOW – FRENCH NEW WAVE
It is quite difficult when we look at God as the early films to separate them out from the other new wave directors people like (45) they all looked as if they are very much of the group they really stands out amongst that crowd certainly from the mid sixties onwards was that he just retained that kind of ferocious interrogation of cinema of the functions of cinema and of how cinema interacts with the world.
So I think there is that combination of on one hand curiosity intellectual curiosity but also just a really sharp almost philosophical intelligence that was fuelling that interrogation. One of the things that is interesting about Godard is that his work is instantly recognizable.
He walks just a few seconds of a shot and there is something about the lighting the framing the way the person moves. There are very, very few film makers that have been able to achieve that degree of that kind of signature to their work.
Godard starts out as a critic as a show film maker in the nineteen fifties breaks into feature film making with A Bout De Souffle (Breathless) as a massive international hit and basically sets him up for the rest of his career and then that sort of a first flourishing work which is really in relations to Hollywood and fuelled by a kind a cine flick engagement with cinema history continues from late fifties to about 1965.
What is so interesting about the film is that you are immediately launched into this kind of weird and wonderful world a kind of Syfy adventure set in contemporary Paris it is playful but it is also deadly serious in its critic of the commodification of Paris so I think it combines that engagement with Hollywood genre but also a political critic of the nefarious affects of capitalism and it brings together those two things in an absolutely perfect way.
I think it is very powerful very playful and very poetic it is beautiful film and there is a shift with (3:27) in particular but then films which (3:31) where Godard’s work takes on a more a sociological dimension he is more interested in engaging with society with contemporary France with pressing issues around consumers than around capitalism and then that leads into the collaborative work that he conducts with the (3:56) group from 1968 to 1972.
From 1973 Godard moves out of Parish moved first to (name4:11) and then to Holand Switzerland and then during that period he is really interested in multimedia and that period which included two massive TV series runs to 1979 then he returns to European art cinema which (4:30) in 1980 and then there is a period.
There is a kind of cycle of films that is often thought of as a kind of the films of the sublime to do with beauty we are going to engaging again with the history of painting the history of music basically the history of kind of classical art and trying to recuperate that back into the history of cinema and those films they are kind of fuels by the question of how to make images. What constitute a poetic image in cinema that is both informed by but different from all these other (5:11).
The lesser half of the eighties are characterized by a couple of quite difficult philosophical films King Layer and (5:19). It is also the period where he begins to work extensively on (5:25) cinema so he is big video graphic films history project is going to really dominate his work really over the decade from the mid late eighties to the end of the nineteen nineties.
When he completed is (5:38) cinema there was a kind of sense that he had come to the end of a massive project I think may critics almost write him off as though you know that’s it as he often does when people think he is he works himself into a dead end he came out with a completely new project which was the gallery installation in 2006 at the (name 6:01) centre and then since then he has product a string of highly experimental features alongside a lot of video essays.
If we look at a film like Adieu Au Language his recent foray in 3D it has been phenomenally successful with all audiences around the globe both young old the Goddard veterans but also those coming to his work for the first time.
Very, very often Godard’s work gets rejected or it gets classified as being difficult or being in accessible or elitist or whatever when it comes out but then a decade later or a couple of decade later it is reclassified as a classic and it actually becomes much more accessible.
I think that one of the things that became actually an obsession for Godard particularly in the late seventies and into the eighties was what is uniquely cinematic, what is cinema in the sense of how do we put together certain elements in a way that isn’t pre planned to create something that is absolutely unique and to allows some kind of insight that comes directly out of the imagining sound rather than out of written or spoken language.
The Godard classic narrative is intrinsically tied up with capitalism. Something that distinguish him slightly from some of his colleagues at the time the new wave is that he is coming out of a deep engagement with an awareness of political modernism.
He was familiar with experimental writings of people like Faulkner and Joyce and so on that through his sense of ability and experimentation that was to fuel his experimentation with narrative.
Godard’s relation to politics is fascinating and quite complex. There is one period that is the period of the (9:35) group where he is basically align himself with a kind of malice and political line everywhere else in his work his politics is really, really difficult to read and in all of his works and a very good example of this is Le Petit Soldat which is his second film which was band because of it illusion to torture and war.
The politic was a very young player what’s characteristic of that film is that it just wound everybody up because it seemed to be, it wasn’t a tool obvious of the way he was positioning himself.
I think what was interesting about that film in relation to his later work is that in his later work very often there are conflicting political position within a single work which are kind of yoked together and they are presented and they are presented as a problem or a question.
Looking again on some of the group universal film some of the political films they are much more interesting than they are often given credit for. There is a film from 1968 called (10:47) a film like any other Godard basically kind of film students and worker in discussion about the implications of the events in May 1968 which is inter cut with Al kibo (11:00) footage of the events that have gone on from May throughout the rest of May of 1968 and seeing it again recently it just struck me that they gave an absolutely fantastic.
The historical glimpse into the mentality of that period better written than any other film I can think of, the key concerns that the few of Godard’s work for that period is an attempt to find some kind of constructive dialogue between intellectuals and workers.
As for Godard’s representation of women it is complex and it is more interesting than is often recognized. There is a time in the late sixties and then into the late seventies where Godard starts engaging with feminist this is probably through (12:09) for example in (12:10) in 1975 (name)the female unit is cited fairly extensively on the sound tract.
It is not as if Godard is unaware of his use of the naked female body in his films. British sounds quite a good example because there we have a young naked woman where the text on the sound track which is just opposed with the representation of that body is basically one it is a feminist text about the exploitation of women in society and the exploitation of the images of women.
If Godard lesson own works which is TV series from 1976 that Godard navo made a very short notice within a very that is just a perfect Godard interruption.