Effects Of French New Wave Cinema

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French New Wave Cinema during its time was something completely special and different for the world of films. Because of French New Wave it brought on a sense of realism that was never seen before and improvisation that was not considered possible for the cinema to create a film. So using examples from the films “Band of Outsiders” and “Faces” we can see not only the examples of what French New Wave so distinct but also its affects on cinema today. French New Wave itself was a movement based off of realism and focusing on creating films that are centered in some form of reality. Some of this was done by using natural lighting, natural sound, and creating scripts and making changes on the fly. Jean-Luc Godard was best known for this rather …show more content…
It challenged people in ways to allow them to think on more intellectual terms. By doing this it allowed films to garner a different form of attention rather than just the focus on spectacle or story this is why films like “Faces” and “Band of Outsiders” have become great classics of this era of filmmaking because they were challenging the current form. Pauline Kael stated in her article “Godard Among the Gangsters” because the possibilities of making big expensive movies on the American model are almost non-existent for the French but also because, as the youthful film enthusiast grows up, if he grows in intelligence, he can see that the big expensive movies now being made are not worth making. (Fine 2005) It’s very possible this was the case for Godard and his reason for making films in a format of …show more content…
I love films that are self reflexive primarily because it brings you that sense of realism and brings you back to reality. You have films like “Deadpool”, “Ferris Buellar’s Day Off”, and “Fight Club” which are some of my favorite films that are self-reflexive. However, the only film I felt was somewhat self reflexive was the film “Faces”. We see this form of self-reflexivity as soon as the film starts rolling in the first scene. “The film starts with Richard Forst (played by John Marley arriving at his office, where he is waited upon by his secretaries and staff as he prepares for a meeting. At the meeting, Forst is pitched a film: “We call it the Dolce Vita of the commercial field.” Says one flunky. Says another, “We came up with an impressionistic document that shocks.” When Forst calls for them to roll the film, the lights go down and the credits for Faces come up. Or, more accurately, the single word “FACES” with white print on a black background”. (Carney1994)
This was quite interesting especially because the characters of Richard Frost and Freddie Draper were acknowledged in the room. It furthers the idea that the film is actually self-reflexive and that we are taking a peak into these two characters

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