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Which clippings match 'French New Wave' keyword pg.1 of 1
19 FEBRUARY 2017

Jean-Luc Godard's first film: Une Femme Coquette (1955)

"The film, based on a Guy De Maupassant short story, was Godard's first shot at a narrative. It's often listed as lost by biographers, and the find is tremendously significant for French New Wave enthusiasts. There are also several easter eggs in the work for Godard fans: the director cameos two minutes in, the story is later re-adapted in Godard's 1966 film 'Masculin Féminin,' and the work itself is credited to his film-critic pseudonym, Hans Lucas.

Just five years after shooting 'Une Femme Coquette,' Godard would release his early masterpiece, 'Breathless.' There is so much of the energy of that latter work in this earlier vision, shot on a borrowed 16mm camera."

(William Earl, 18 February 2017, Indiewire)

TAGS

1955 • A Flirtatious Woman (1955) • based on novel • black and white • Carmen Mirando • coquette • early work • flirtatious • French filmmaker • French New Wave • French-Swiss film director • Genevagesture • Guy de Maupassant • Hans Lucas • Ile Rousseau • imitation of an actioninfluential filmmakerJean-Luc Godard • Le Signe (Guy de Maupassant) • Maria Lysandre • non-sync sound • prostitute • Roland Tolmatchoff • short fiction film • short film • Swiss filmmaker • Switzerland • The Signal (Guy de Maupassant) • Une Femme Coquette (1955) • voice-over commentarywoman

CONTRIBUTOR

Simon Perkins
29 OCTOBER 2013

Jefferson Airplane Wakes Up New York; Jean-Luc Godard Captures It

"He took over from the specialists and operated the camera from the window of Leacock–Pennebaker's office on West Forty–fifth street, shooting the band on the roof of the Schuyler Hotel across the street. (Pennebaker recalled him to be an amateurish cameraman who could not avoid the beginner's pitfall of frequent zooming in and out.) The performance took place without a permit, at standard rock volume: as singer Grace Slick later wrote, 'We did it, deciding that the cost of getting out of jail would be less than hiring a publicist"

(via Open Culture, 24 February 2012)

Fig.1 Jean–Luc Godard filmed the band on a rooftop in Midtown Manhattan (December 7, 1968).

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TAGS

1960s1968 • alternative zeitgeist • amateurish • amateurish cameraman • anti-mastery • band • cinematic zest • Donn A. Pennebaker • Film Socialisme (2010) • focus and zoom • footageFrench New Wave • Grace Slick • improvisationimprovised methodJean-Luc Godard • Jefferson Airplane • Leacock-Pennebaker • live performanceManhattan • Midtown Manhattan • New YorkOpen Culture (resource) • Paul Kantner • Richard Leacock • Schuyler Hotel • spectacle • The House at Pooneil Corners • West Forty-fifth street • zooming in and out

CONTRIBUTOR

David Reid
12 JANUARY 2013

The Last Picture Show: stark black and white cinematography

"Bogdanovich's coming of age story, set in 1950s rural Texas, is an achingly accurate portrayal of small–town life and the compromises and disappointments that mark the passage from adolescence to adulthood. In contrast to his contemporaries, who experimented with style and new filmmaking techniques inspired by the French New Wave, Bogdanovich looked back to classical Hollywood, utilizing stark black and white cinematography, deep focus and a traditional narrative structure. The film is striking in its lack of nostalgia for the past, focusing instead on the desperation of a dying community and way of life, embodied by the shuttering of the lonely movie house."

(Harvard Film Archive)

"The Last Picture Show", Directed by Peter Bogdanovich. With Timothy Bottoms, Jeff Bridges, Cybill Shepherd. US 1971, 35mm, b/w, 118 min.

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TAGS

1950sadolescenceadulthoodblack and whitecinematography • classical Hollywood • compromises • Cybill Shepherddeep focusdesperation • disappointment • dying community • French New Wave • Harvard Film Archive • Jeff Bridges • John Schlesinger • lack of nostalgia for the past • loneliness • mark the passage • Mel Brooks • movie house • movie theatre • new filmmaking techniques • Peter Bogdanovichrural • rural Texas • shuttering • small town • small town life • stark • stark black and white cinematography • Sunday Bloody Sunday (1971) • TexasTimothy Bottoms • traditional narrative structure • way of life

CONTRIBUTOR

Simon Perkins
11 NOVEMBER 2008

Social Realism in British Film: Where Did the Kitchen Sink Drama Emerge From?

"Social Realism in British films peaked during the 1960s when what is commonly referred to as the British New Wave emerged. The new wave directors such as Karel Reisz, Lindsay Anderson and Tony Richardson had made a number of documentaries before moving on to feature films, and many of these had been screened at the (historically important) National Film Theatre event christened 'Free Cinema' in the 1950s. Like the auteurs of the French New Wave, many of the British directors were knowledgeable critics as well, affiliated with Sequence magazine. This gave them ample opportunity to promote their agenda."
(Michelle Strozykowski, Jan 4, 2008)

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TAGS

1960s • British New Wave • cinemafilm • Free Cinema • French New Wave • Karel Reisz • Ken Loach • kitchen sink drama • kitchen sink realismMike Leighsocial realism • Stephen Frears • Tony Richardson • UK

CONTRIBUTOR

Simon Perkins
25 NOVEMBER 2006

The Avant-garde Has Had A Variety Of Different Approaches To Narrative

Rob Bridgett
Rather than completely destroying narrative, the avant–garde has had a variety of different approaches, from Godard's gestures of "counter cinema"4 through the feminist perspectives of Constance Penley5 to the various forms of Dada hostility. It is into this reconsideration of narrative that the recent "structural–materialist" films of the ?50s and ?60s fit. They operate in an arena of the "independent" and harbour a concern with the connection of an avant–garde cinema with similar gestures in other areas of the arts. In the case of William Burroughs, the cut–up technique is an extension of a literary concept, and in the case of the New York–based Fluxus group, cinema represents extensions of "concept art." Throughout this history of alternative cinema there is evident this spirit of extension and collaboration, from Surrealism and Dada, which also began as literary endeavours, through to the Fluxus group and the French Situationists who work throughout various mediums in the spirit of "expanded arts.

[4]. Wollen, Peter. "Counter cinema: vent d?est, " Afterimage #4, 1972.
[5]. Penley, Constance. "The Avant–garde and Its Imaginary. " An expanded version of a paper presented during the avant–garde event at the Edinburgh Film Festival, August 1970, from Camera Obscura.

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TAGS

avant-gardeconcept art • counter cinema • Dada • expanded arts • filmFluxusFluxus groupFrench New WaveindependentJean-Luc GodardnarrativeSituationists • structural-materialist • surrealWilliam Burroughs
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