![]() ![]() ![]() The following paper is a comparative study of the French Nouvelle Vague and its subsequent influences on the cinema of New Hollywood during the 1970's based around the artistic and cultural ideologies of Postmodernism as expressed in the works of Frederic Jameson's Postermodernism in Consumer Society and Postmodernism, Or the Cultural Logic of Late Capitalism. ![]() I contextualize my project within the current debate in film and French studies regarding the legacy of the New Wave, particularly in light of a tendency to cast doubt on the movement’s involvement with “the political,” as well as to dispute the New Wave’s status as a defining moment in French cinema. This politique is characterized by a profound dissatisfaction with their era, the Americanization of French society, France’s involvement in Algeria, and a reticence about the impending sexual liberation movement. Primarily, I show that while the New Wave borrows extensively from Hollywood aesthetics, its manipulation and subversion of American film noir conventions are also at the very heart of the politique des auteurs. I also draw a number of important conclusions. I show how the two cinemas cross-pollinate, especially given that the French polar itself exerted influence on Hollywood film noir and that French critics were among the first to identify the new tendency towards making film noir in postwar Hollywood. I therefore embark on a comparative study that considers in great detail the New Wave’s reprisal and adaptation of the film noir format, with my analyses focused not only on character and plot conventions, but also on the tropes, aesthetics and filmmaking production techniques common to both cinemas. Genre cinema subsequently remained a preoccupation for the New Wave auteurs, who made no fewer than fifty gangster and crime films between 19, including many of the New Wave’s most iconic films. It is, after all, a matter of record that Hollywood’s cheaply-made B-movies were championed by the critics of Cahiers du cinéma as permitting authorial self-expression and as encouraging cinematic innovation and evolution. Initially, I ask if this relationship is not the principle identifying criterion of New Wave cinema. Helplessness and soldiers firing on the crowd would lead to the thought of oppression.This dissertation develops a comprehensive study of the influence exerted by Hollywood “genre” cinema, in particular the B-series film noir, on the French New Wave. They would then build on that idea of helplessness with subsequent shots. Audience members would combine images of marching soldiers and fleeing citizens to recognize a tertium quid. The Odessa Steps sequence is filled with propaganda, though Russian audiences didn’t immediately recognize it as so. This was most famously represented in Eisenstein’s film, Battleship Potemkin. Multiple images edited together would create “tertium quid,” a third thing more significant than its individual parts. He believed that montage could be used to have an impact beyond the images on the screen. In an instant, you travel millions of years into the future, and you can only sit and contemplate how much life evolved in that time.īriefly, a student of Kuselov, Sergei Eisenstein would build upon the Soviet Montage Theory. Using two different images to create a powerful inner dialogue is perfectly displayed in a simple match cut in Stanley Kubrick’s 2001: A Space Odyssey. It verified that the story was told in the viewer’s mind, not on the screen. Even the the exact same footage of the actor was used, audiences reacted differently to each sequence. He would show the actor’s face reacting to the other footage. He combined independent shots of an actor’s face, a bowl of soup, a woman in a coffin, and a woman on a sofa. To prove his point, Kuleshov conducted a test. It evolved into the Soviet Montage Theory, where they determined that the editing of shots constituted the force of a film. The film school led an intense study to examine the impact of the film editing. Griffith’s Intolerance reached Russia in 1919, a massive hit all over the country. Unlike his predecessors, who edited films out of natural habit, Kuleshov began to dissect film editing to study its impact on audiences. Kuleshov is considered one of the first film theorists. Among the first members of the school staff was Lev Kuleshov. Lenin’s wife led a cinema committee that would establish the Moscow Film School in 1919. After the 1917 revolution in Russia, Vladimir Lenin’s Bolsheviks sought a means of mass communication throughout the country.
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