Query: The French New Wave

title: Intermedial Dialogues
abstract: Casting fresh light on one of the most important movements in film history,  The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on Andre Bazin alongside recent theories of intermediality, it investigates the 'impure' intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics turned directors Francois Truffaut, Eric Rohmer, Jean Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnesVarda and Chris Marker, but also lesser known directors, notably the 'secret child of the New Wave' Guy Gilles. This wide ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.

title: The French New Wave: Insurrection Generation

title: The French new wave

title: Listening to the French New Wave. The Film Music and Composers of Postwar French Art Cinema

title: Listening to the French New Wave: The Film Music and Composers of Postwar French Art Cinema
abstract: Music and Cinema in  A Cultural History New Wave, New Music? Film Music Collaborations on the Right Bank The French New Wave: A Musical Revolution? Musicalising Moving Photographs: The Early Film Music of Agnes Varda Musical 'Madeleines' in the Early Cinematic Essays of Chris Marker Alain Resnais: 'Auteur Melomane'

title: Listening to the French New Wave

title: A History of the French New Wave Cinema
abstract: The French New Wave cinema is arguably the most fascinating of all film movements, famous for its exuberance, daring, and avant garde techniques. "A History of the French New Wave Cinema" offers a fresh look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the most important New Wave movies of the late 1950s and early 1960s. Richard Neupert first tracks the precursors to New Wave cinema, showing how they provided blueprints for those who would follow. He demonstrates that it was a core group of critics turned directors from the magazine, "Cahiers du Cinema" especially Francois Truffaut, Claude Chabrol, and Jean Luc Godard who really revealed that filmmaking was changing forever. Later, their cohorts Eric Rohmer, Jacques Rivette, Jacques Doniol Valcroze, and Pierre Kast continued in their own unique ways to expand the range and depth of the New Wave. In an exciting new chapter, Neupert explores the subgroup of French film practice known as the Left Bank Group, which included directors such as Alain Resnais and Agnes Varda. With the addition of this new material and an updated conclusion, Neupert presents a comprehensive review of the stunning variety of movies to come out of this important era in filmmaking.

title: The French New Wave: Critical Landmarks
abstract: Preface to the 2009 Edition PETER GRAHAM Preface to the 1968 Edition PETER GRAHAM  Fifty Years of the French New Wave GINETTE VINDENDEAU 1 The Birth of a New Avant Garde La Camera Stylo ALEXANDRE ASTRUC 2 A Certain Tendency in French Cinema FRANCOIS TRUFFAUT 3 The Evolution of Film Language ANDRE BAZIN 4 The Delights of Ambiguity: In Praise of Andre Bazin GERARD GOZLAN 5 La Politique des auteurs ANDRE BAZIN 6 Little Themes CLAUDE CHABROL 7 Review of Alexandre Astruc's Une vie JEAN LUC GODARD 8 The Emperor Has No Clothes ROBERT BENAYOUN 9 Interview with Francois Truffaut CAHIERS DU CINEMA 10  Contrasting Views of A bout de souffle: Jean Luc Godard LUC MOULLET A bout de souffle RAYMONDE BORDE Le Quai des brumes 1960: A bout de souffle by Jean Luc Godard GEORGES SADOUL Bibliography Index

title: adaptatIon and tHe frencH neW WaVe: a Study In aMbIValence
abstract: This essay concerns the multifaceted relation between literature, adaptation, and the New Wave. I will outline the broad history of this relationship as theorized by the New Wave directors/critics, and as put into practice in specific films, simultaneously reflecting on the adaptations themselves and on the methodological question of how to talk about adaptation. I will tie the analysis of exemplary sequences to methodological/theoretical concepts the "automatic difference," "activist ecriture," the "manifesto sequence," "hidden polemics" that strike me as productive in relation to the subject at hand. Both the films and the critical writings of the New Wave directors, I will be arguing, provoked a salutary disarray in our thinking about adaptation, and more broadly, about the relations between film and literature.

title: Life Is Like a Bowl of Fish: The Aquarium, the French New Wave and the Urban Reflection of the Cairene Self
abstract: This article analyses Egyptian film maker Yousry Nasrallah's film The Aquarium (2008) as a germane example of a new genre of film making in Egypt that is emblematic of a revolution in film making on the level of film language, technique and format. The author argues that although many commercial and independent films in Egypt in the past decade have taken up social, political and economic problems, and have helped expose the endemic corruption and bankruptcy of the Mubarak regime, the bulk of these films have not contributed to revolutionizing the medium itself through technique and point of view. Furthermore, most of these films suffer from a type of didacticism. In contradistinction, The Aquarium offers a salient example of using innovative filmic language in Egyptian cinema to expose many societal and political issues that plague Egyptian society. Hence, this article investigates the innovative aspects of The Aquarium at the level of film language, locating the film within the realm of the cinematic innovations that the French New Wave ushered in. If post 25 January Egyptian cinematic production results in revolutionizing the content and narrative structure of films, it is the hope that innovations will also happen at the level of the visual and film language. Finally, this article argues that Yousry Nasrallah's film provides a cogent precedent in the revolutionizing of film grammar in Egyptian cinema.