This bed is on fire with passionate love

[ledmind]

I missed that show friday, oh well. I heard it was cool. This weekend was fun. Playing pool is really hard under the influence. Fin.

Comments

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[anonymous]

The term French New Wave or La Nouvelle Vague refers to the work of a group of French film-makers between the years 1958 to 1964. The film directors who formed the core of this group, François Truffaut, Jean-Luc Godard, Claude Chabrol, Jacques Rivette and Eric Rohmer, were once all film critics for the magazine Cahiers du Cinéma. Other French directors, including Agnés Varda and Louis Malle, soon became associated with the French New Wave movement. This essay examines what was distinctive about the early films of these directors

[anonymous]

In the late 1950s the Cahiers du Cinéma critics took the opportunity to become film auteurs themselves, when film subsidies were bought in by the Gaullist government, and they put their theories into practice. The core group of French New Wave directors initially collaborated and assisted each other, which helped in the development of a common and distinct use of form, style and narrative, which was to make their work instantly recognizable

[anonymous]

The films had a casual and natural look due to location filming. Available light was preferred to studio-style lighting and available sound was preferred to extensive studio dubbing. The mise-en-scène of Parisian streets and coffee bars became a defining feature of the films. The camera was often very mobile, with a great deal of fluid panning and tracking. Often only one camera was used, in highly inventive ways; following characters down streets, into cafes and bars, or looking over their shoulders to watch life go by. Eric Rohmer's La Boulangère Du Monceau (1962) opens by establishing the action in a specific location in Paris, and is almost entirely filmed in the streets, cafes and shops of this area. In A Bout de Souffle (1959), the cinematographer Raoul Coutard, who worked on many of the French New Wave films, was pushed around in a wheelchair - following the characters down the street and into buildings. Innovative use of the new hand-held cameras is evident, for example, in Truffaut's Les Quatre Cent Coups (1959), where a boy

[anonymous]

Long takes were common, for example, the street scene in A Bout de Souffle. Long takes have become particularly associated with the films of Jacques Rivette. The use of real-time was also common, for example, in Varda's Cléo de 5 á 7, in which the screen duration and the plot duration both extend two hours, and in the slice-of-life scenes in Godard's Vivre Sa Vie (1962). These two films are also both firmly shot in the present tense, a common feature of French New Wave films generally. The films tended to have loosely constructed scenarios, with many unpredictable elements and sudden shifts in tone, often giving the audience the impression that anything might happen next. They were also distinctive for having open endings, with situations being left unresolved. Truffaut's Les Quatre Cent Coups is typical in ending ambiguously, with the protagonist Antoine on a beach caught in freeze-frame looking at the camera

[ankh_of_life]

jew yo tokyo pipe?