Chapter 4 wave foam

1. The flag bearer has gone Forty years have passed since the New Wave film was recognized as an outbreak year. Some of the standard bearers and go-getters are ancient, such as Truffaut.Teshi was half of Hitchcock's student.Spielberg is another half-disciple of Truffaut.Once the teacher is gone, the disciples are in full swing.Same goes for Truffaut in the 1970s and Stuart in the 1990s. Some people are left in a semi-retired state.For example, Godard returned to his early country of Switzerland to settle more than ten years ago, and even some dictionaries have classified him as a Swiss filmmaker, not a French one.The works are full of rural and secluded creative atmosphere, and the young protagonists in Paris in their heyday have disappeared.The film experiment studio in his hometown has made achievements more than ten years ago, including the scripts, part of the filming work and post-sound production of works such as "Carmen".But in the past two years, it has been very quiet.

However, there are active ones with more cultural or commercial flavors, such as Levette and Chabrol. Unlike Truffaut and Godard, once they became the main creative staff, Levette stayed away from criticism and left the magazine Cahier Cahire, where they made their fortune.Levette has kept the habit of writing for Cahiers Cahiers for a long time, and it was only in the mid-1960s that he began to create films for commercial theaters, which may be one of the reasons for his narrative vitality.Our movie channel (Central Six) recently released his works from the 1970s. Chabrol's enduring artistic life is closely related to his cultivation or reliance on classical literature.It should be the clearest form of high-quality movies that Truffaut strongly criticized back then.

The standard-bearers and generals of the new wave have all reached the age of grandparents.Young people respect them as they respect and love their grandparents.Of course, other young people also have the right not to buy it just like denying other authorities.For example, in the 1997 French film "The Taibao Code", which is called "super decadent", one of the characters (manu whose testicles were blasted off later) had no toilet paper when he was loose by the canal, so he tore out two pages of "Movie Handbook" make do. 2. Social topics The new wave was born from the post-war cultural transformation and shock, and became the banner of cultural changes and trends in the second half of the 20th century.It is an irrefutable glorious page in the history of film.His film works are not only the object of research, samples for young students to imitate, and references for some creators' creations, but also objects for collection and aftertaste, and classics on the rental shelves of video stores.

New Wave cinema is one of the brightest, most rapid and radical transitions in film history.What is most often talked about by everyone is the many creators with different personalities, batches of wonderful films, the role of reviews on movies, whether you can make movies without going to film school, the impact of overall changes in equipment on creation, Topics such as the vitality of youth films, the interaction between film reform and social change, etc. These topics are always new.For example, the current weakness of Chinese film reviews, being out of touch with creation, saying good but not bad, etc.For example, whether all kinds of film education are cultivating film talents or producing TV generalists.For example, digitalization does not affect the complexity of the equipment enough, but also changes the process flow, what else can creation do besides adapting.For example, the "generational" argument of film creators.

3. Youth Movies New Wave cinema was created by its era and helped to divide entertainment, culture, and appreciation by age. The sense of the times before World War II still stays in the 19th century in which good and evil are distinguished.Nazis are evil, Democracy is good as long as it gets rid of the ephemerality and chaos of the Weimar period; isolationism is wrong, long live the New Deal and antitrust laws; Workers’ New Village) is an act of kindness.As far as France was concerned in the 1930s, the workers or the proletariat had the right to enjoy a 40-hour work week and one month of paid vacation each year. It mainly focuses on extreme communists and violent Nazis) not good, it is done by die-hard soldiers and priests who oppose enlightenment, popularization of education and universal suffrage.

The problem after World War II is that people's choices are hard to define between good and evil.The Cold War is the best example. There is no reason for both sides.The immediate, immediate goal of the good is gone.Racial discrimination has become a disgrace, women can vote and be elected just like men, kissing on the street is no longer indecent, strikes and school strikes are no longer beaten, and the media will always publish what intellectuals have to say.So what do literary and artistic works praise and criticize? The diversification of entertainment, culture and appreciation activities has little to do with the age differentiation of the audience.But small differences are exaggerated by creators who like to please the audience.The result is a cycle: the movie audience is a bit younger; then I make movies that young people like to watch; older audiences don’t like movies; the movie audience is only young people; I can only make movies for young people.

This process is irreversible, and no film from any country can escape it.In the film history of France and even Western Europe, the New Wave played a key role, that is, it drove the old people away and kept the young people.It's just that without the new wave, this process will be even longer. Old people like to watch movies with clear good and evil, good and bad, exquisite shooting, important themes, elegant actors, heroes and ladies, and beautiful scenes.However, the changes in the society at the end of the 1950s are that heroes are nowhere to be found, ladies are few and far between, loyal and evil are not distinguished, good and evil are unclear, and it is difficult to define themes as good or bad. Important themes must be false and true must not be important.Then how to make a movie?

What young people like to watch is reflected in the main features of the early films of the New Wave: the stories are slightly disordered, the themes are routine, the scenes are extremely real, the shooting techniques are arbitrary, the male protagonist is decadent, emotive, and has no financial foundation, and the female protagonist is casual. , not heavy on emotion, often deceived and loves to betray the leading actor, the rhythm is faster, the editing is more free, the performance is more life-like, and does not ask the audience to understand. The characteristics of this concept of youth films are similar to the methods that today's films rely on to approach young people.In this sense, the New Wave is the pioneer who brought cinema into modern times.

The tide is still there.The advocacy and practice of youth films that we see in mainland China today are not far from this.For example, the disorder and randomness of "Hair Messed Up", the rebellious and decadent themes of "Grown Up" and "Sunny Day", the real scene of "The Girl with a Carrying Pole", and the daily and astringent nature of "Wushan Cloud and Rain". As for other characteristics, it varies from person to person and film to film.For example, the lines should be more written (Godard's "Exhaustion" and Truffaut's "Jul and Jim"), and the narrative component of the script should be more narrative or the editing should be more narrative (the same is Truffaut's "The Last "A Metro" and "American Night"), whether the actors are professional (Anouk Aimee and Leo), whether the whole is flexible or dignified (Chabrol's "Beautiful Serge" and Mahler's "To the Gallows") The Elevator"), smooth and easy to understand or obscure (both Levette's "Up and Down Fragile" and "Celine and Julie on the Boat"), etc.Only in the huge distinction between on-site creation and off-site creation, the former includes Godard, Agnes Varda, etc., and the latter includes Truffaut, Chabrol, etc.

In addition, the new wave movies use a lot of real scenes, so an important difference from the previous movies is that the previous movies put reality into a well-installed studio, but most of the movies after the new wave put scenes into reality in a random and uncontrollable way. Space.