Breathless
Theory Discussion
French New Wave, which is also known as French Nouvelle Vague, can be considered as one of the most influential film movements that took place in the history of cinema. The ripples created by this cinematic movement can even be felt today. A group of critics, who wrote for a French film journal called Cahiers du Cinema, created the film movement.
It began as a movement against the traditional path that French Cinema followed, which was more like literature. The French New Wave had the potential to bring a radical change to French cinema.
Before 1950s & 1960s, French films were mainly literary adaptations i.e. fictional tales published in books and adapted to cinema. These films were usually filmed within the studio system or on big budget spectacles and international co-productions.
The late 1950s and early 1960s saw the rise of a new generation of filmmakers around the world. In country after country, there emerged director born before World War II but grown to adulthood in the post war era of reconstruction and rising prosperity.
The Cahiers du Cinema had been established in 1950 by Jacques Doinol-Valcroz and Andre Bazin, and it quickly became one of the most influential publications in the history of cinema. The feature of the new wave of France is that the director not only dominates the film, but also becomes the author and creator of the film. Style features include the ability to quickly switch scene cuts and other innovative editing techniques, or like "jumping", to create an inconsistent effect on the overall narrative.
Synopsis
Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American.
Analysis
Jump cuts
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. The jumps cut will make the audience confuse on the sudden change for the scene. Besides that, the jump cut will create jerky and disconnected effect. For example, scene of conversation between Michael and Patricia in a car in the film of Breathless. A lot of jump cuts with the background changes suddenly when characters are talking to each other.
Handheld Camera
Breathless also use the handheld camera to shot the film which throughout 90 minutes. The customer will feel uncomfortable and dizzy. For example, the scene of press conference with Parvulesco takes place on an airport observation platform, where the loud whines of nearby planes drown down the conversation.
Long takes
In addition, it rejects film traditions with no planned plot and script. Therefore, long takes used most of the time to capture the natural moment or something the director want in the moment. Because of this, jump cut used familiar to only include the essential scenes. For example, the scene while Michal is courting toward Patricia in the apartment.
Low budgets
Much of the scene (and the film in general) is shot on the streets of Paris or in a single apartment. This particular scene takes place solely in the street, and requires limited props or expensive factors. The tracking that takes place as Michel attempts to run away from the police and Patricia does not appear to be as perfect as it could be. It isn’t smooth like movies nowadays, and this suggests the low budget, unprofessional feel associated with the movement.
Conclusion
According to myself, I am not really like the film of French New Wave, such as the film techniques used. As a conclusion, I felt bored while watching this film. But it was famous during the past and favor by professional artists. The main actors of Breathless went famous after the film released. French New Waze seem as an art in film industry.
Bibliography
Bordwell, D., Thompson, K., & Smith, J. (2017). Film Art. United States: McGraw-Hill Production.
Duke. (n.d.). IMDb. Retrieved from Breathless Plot: http://www.imdb.com/title/tt0053472/plotsummary
Encyclopedia Britannica. (2018). Encyclopedia Britannica. Retrieved from New Wave: https://www.britannica.com/art/New-Wave-film
Hustle, I. F. (2016, December 5). Indie Film Hustle. Retrieved from What is the French New Wave?: https://indiefilmhustle.com/french-new-wave/
Bordwell, David & Thompson, Kristin (2010) Film Art An Introduction, 9th ed., USA: McGraw-Hill, pp. 454 – 489.
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.
French New Wave, which is also known as French Nouvelle Vague, can be considered as one of the most influential film movements that took place in the history of cinema. The ripples created by this cinematic movement can even be felt today. A group of critics, who wrote for a French film journal called Cahiers du Cinema, created the film movement.
It began as a movement against the traditional path that French Cinema followed, which was more like literature. The French New Wave had the potential to bring a radical change to French cinema.
Before 1950s & 1960s, French films were mainly literary adaptations i.e. fictional tales published in books and adapted to cinema. These films were usually filmed within the studio system or on big budget spectacles and international co-productions.
The late 1950s and early 1960s saw the rise of a new generation of filmmakers around the world. In country after country, there emerged director born before World War II but grown to adulthood in the post war era of reconstruction and rising prosperity.
The Cahiers du Cinema had been established in 1950 by Jacques Doinol-Valcroz and Andre Bazin, and it quickly became one of the most influential publications in the history of cinema. The feature of the new wave of France is that the director not only dominates the film, but also becomes the author and creator of the film. Style features include the ability to quickly switch scene cuts and other innovative editing techniques, or like "jumping", to create an inconsistent effect on the overall narrative.
Synopsis
Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American.
Analysis
Jump cuts
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. The jumps cut will make the audience confuse on the sudden change for the scene. Besides that, the jump cut will create jerky and disconnected effect. For example, scene of conversation between Michael and Patricia in a car in the film of Breathless. A lot of jump cuts with the background changes suddenly when characters are talking to each other.
Handheld Camera
Breathless also use the handheld camera to shot the film which throughout 90 minutes. The customer will feel uncomfortable and dizzy. For example, the scene of press conference with Parvulesco takes place on an airport observation platform, where the loud whines of nearby planes drown down the conversation.
Long takes
In addition, it rejects film traditions with no planned plot and script. Therefore, long takes used most of the time to capture the natural moment or something the director want in the moment. Because of this, jump cut used familiar to only include the essential scenes. For example, the scene while Michal is courting toward Patricia in the apartment.
Low budgets
Much of the scene (and the film in general) is shot on the streets of Paris or in a single apartment. This particular scene takes place solely in the street, and requires limited props or expensive factors. The tracking that takes place as Michel attempts to run away from the police and Patricia does not appear to be as perfect as it could be. It isn’t smooth like movies nowadays, and this suggests the low budget, unprofessional feel associated with the movement.
Conclusion
According to myself, I am not really like the film of French New Wave, such as the film techniques used. As a conclusion, I felt bored while watching this film. But it was famous during the past and favor by professional artists. The main actors of Breathless went famous after the film released. French New Waze seem as an art in film industry.
Bibliography
Bordwell, D., Thompson, K., & Smith, J. (2017). Film Art. United States: McGraw-Hill Production.
Duke. (n.d.). IMDb. Retrieved from Breathless Plot: http://www.imdb.com/title/tt0053472/plotsummary
Encyclopedia Britannica. (2018). Encyclopedia Britannica. Retrieved from New Wave: https://www.britannica.com/art/New-Wave-film
Hustle, I. F. (2016, December 5). Indie Film Hustle. Retrieved from What is the French New Wave?: https://indiefilmhustle.com/french-new-wave/
Bordwell, David & Thompson, Kristin (2010) Film Art An Introduction, 9th ed., USA: McGraw-Hill, pp. 454 – 489.
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.
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