FRENCH NEW WAVEAN INFLUENCE for MODERN CINEMA and ANIMATION

NGUYEN HONG NGOC MAI14071 - Diploma Level 2, ANN3A

ABSTRACT

• • Define French New Wave origins and characteristics. How it influence and change Hollywood cinema?

• Link the influence of French New Wave to Animation. What is the problem with Animation today? Difference between 2D Animation and today 3D Animation? Suggestion for improvement?

TABLE OF CONTENT

1. Abstract2. Introduction3. Content: • Historical Background• Characteristics: Setting, Editing, Narrative, Auteur Theory• Influence to Modern Cinema: Technical, Ideolology4. Modern Animation: its problem 5. Summary

1940 - 1944: Nazi occupied Paris Shortage on petrol Censorship, propaganda Limited choice of movies, American film were banned

HISTORICAL BACKGROUND

HISTORICAL BACKGROUND

Jean-Luc Godard Eric Rohmer

Claude Chabrol

Jacques Rivette

Francois Truffaut

French New Wave (1958 - 1968): • Influence by Italian Neo-realism realist of post-war economic and moral conditions, their filming location and use non-professional actor.• Reject the Classical Narrative Hollywood mainstream studio, which diminish the individual style of director.

CHARACTERISTICS

Director: Jean-Luc Godard

À BOUT DE SOUFFLÉ (1960) • One of the earliest and most influential of French New Wave.• A young man Michel (Jean Paul Belmondo) steal a car in Marseille and shoot a police who follow him on the country road. He hides at his girlfriend' apartment Patricia (Jean Seberg) and call in a loan to try escapes to Italy. Patricia betrays him by telling the police. He then been shot by the police and after a prolonged death run,he dies "à bout de soufflé".

LOW BUDGET• Shoot on Location - Abandon studio• Natural Light• Natural Sound• Handheld Camera• No star-system

CHARACTERISTICS - Settings

Casual - Natural Look

FREE EDITING STYLE• Jump cut, Long Take shot, Long Tracking Shot• Monologue - Character talk directly to camera

CHARACTERISTICS - Editing

CHARACTERISTICS - Narrative

• Linear Structure• Chronological Time• Hero Protagonist• Female character portrayed as eye-

candy or victim, passive, mostly support for male hero character.

• Strong relate to script and screen-writing

• Non Linear Structure• No necessary sense of chronological• Protagonist act immoraly, anti hero• Female character were given strong

parts in movie, independent and active - reshape the stereotype of femme fatale.

• Script often be written on spot, Actors were encouraged to write their own lines, talk like in real life.

FRENCH NEW WAVECLASSICAL NARRATIVE HOLLYWOOD

CHARACTERISTICS - Auteur theory

• 1st mentioned by Francois Truffaut in an essay entitled "A Certain Tendency in French Cinema". • Film should not be just for entertain, but it should be traited as a medium to reflect the director's personal vision. --> A good director is one who can stamp his individual personality into his film. --> Director should not limit himself in a strict artistic conduct, they should experiment and tell the story in a unique way, reflect their vision, no matter the film is well-received or not.

INFLUENCE - Technique

Reservoir Dogs (1992) - Quentin Tarantino

Long Tracking shot - Opening dinner scene

Long Take shot - Torture scene

• On location shooting• Low Budget Filming

INFLUENCE - Ideology

• Encourage Film makers to not limit themselves and free up cinema to come to its own as an art form, to sign their film with their own personality and style.• It is not necessary to have enormous budgets, established actors to make a good movie. It is about the love of making movie and all the effort, creativity and imagination.

INFLUENCE - Ideology

Summary

• Influence by Italian Neo-realism, Reject Classical Narrative Hollywood• Characteristique: _ Low budget (Shoot on location; Hand-held camera; Natural Light, sound; no Star-system) _ Free-editing style _ Non-linear story struture; Non-chronological; Reshape the Male and Female role.• Auteur-theory: Emphasis the role and style of Director in Film-making, encourage Directors to experiment and challenge themself. • Influence: Without French New Wave, todays modern cinema cannot be so free and interesting, with many creative director and film-crew that we love.

Animation: its problem

Animation: its problem

Animation: its problem

A good sign from Pixar

Paperman (2012)Director: John Kahrs

Conclusion

• The style is define by studio, like the Classic Hollywood.• Today it is now more difficult to define the style between studio.• If we can apply the Ideology of French New Wave in Animation, give more freedom for Director, mark the Animation with the style of Director, not studio, we will have more interesting Animation Movies to look forward to.

Bibliography

• Phil Powrie and Keuth Reader (2002), French Cinema Student's Guide, British Library Cataloguing in Publication Data• Mary P. Wood (2007), Contemporary European Cinema, Bloomsburry Academic, London• Thomas Elsaesser (2005), European Cinema Face to face with Hollywood, Amsterdam niversity Press, Amsterdam• Robert Sklar (1993), Film: An International History of the Medium, Harry N. Abrams

Cite sources

• NewWaveFilm.com, S Hitchman/A McNett (2008-2013) http://www.newwavefilm.com/new-wave-cinema-guide/nouvelle-vague-where-to-start.shtml• Francois Truffaut (1954), A Certain Tendency of the French Cinema, Cahiers du Cinema http://www.newwavefilm.com/about/a-certain-tendency-of-french-cinema-truffaut.shtml• French New Wave: The Influencing of the Influencers, Kristen Coates (2010) http://thefilmstage.com/features/the-classroom-french-new-wave-the-influencing-of-the-influencers/