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The New Wave (French: Nouvelle Vague, French pronunciation: [nuvɛl vaɡ]), also called the French New Wave, is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm .
New Hollywood, music videos, French New Wave Cinéma du look ( French: [sinema dy luk] ) was a French film movement of the 1980s and 1990s, analysed, for the first time, by French critic Raphaël Bassan in La Revue du Cinéma issue no. 449, May 1989, [ 1 ] in which he classified Luc Besson , Jean-Jacques Beineix and Leos Carax as directors of ...
The New Wave, French New Wave, or Nouvelle Vague, the inaugural New Wave cinema movement; Australian New Wave; Indian New Wave, or Parallel cinema; Japanese New Wave, or Nuberu Bagu, which also developed around the same time as the French Nouvelle Vague; Persian New Wave, or Iranian New Wave, started in the 1960s; New German Cinema, new wave of ...
Jean-Pierre Grumbach (20 October 1917 – 2 August 1973), known professionally as Jean-Pierre Melville (French: [ʒɑ̃ pjɛʁ mɛlvil]), was a French filmmaker.Considered a spiritual godfather of the French New Wave, he was one of the first fully-independent French filmmakers to achieve commercial and critical success.
Jean-Pierre Léaud, ComM (French: [ʒɑ̃pjɛʁ le.o]; born 28 May 1944) is a French actor best known for being an important figure of the French New Wave and his portrayal of Antoine Doinel in a series of films by François Truffaut, beginning with The 400 Blows (1959).
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Jean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (French: [eʁik ʁomɛʁ]; 21 March 1920 [a] – 11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher. Rohmer was the last of the post-World War II French New Wave directors to become
The New Wave dealt with a self-conscious rejection of traditional cinema structure, a topic on which Truffaut had been writing for years. Thomson writes that The 400 Blows "securely tied the new films to Renoir, Vigo, and the French tradition of location shooting, flowing camera, and offhand lyricism."