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Cinéma du look
Cinéma du look was a French film movement of the 1980s, analysed, for the first time, by French critic Raphaël Bassan in La Revue du Cinéma issue n° 448, May 1989,〔Translate in English : ''The French neo-baroques directors : Beineix, Besson, Carax from Diva to le Grand Bleu'' (pp. 11 – 23), in ''The Films of Luc Besson: Master of Spectacle'' (Under the direction of Susan Hayward and Phil Powrie) Manchester: Manchester University Press, 2007. ISBN 0-7190-7028-7〕 in which he classified Luc Besson with Beinex and Carax, who made work of "le look." These directors were said to favor style over substance, spectacle over narrative.〔Austin, Guy. ''Contemporary French Cinema: An Introduction'', Manchester University Press, 1999, pp. 119–120, 126-128. ISBN 0-7190-4611-4〕 It referred to films that had a slick, gorgeous visual style〔 and a focus on young, alienated characters who were said to represent the marginalized youth of François Mitterrand's France.〔French Cinema — Powrie & Reader〕 The three main directors of the Cinéma du look were Jean-Jacques Beineix, Luc Besson and Leos Carax. Themes that run through many of their films include doomed love affairs, young people more affiliated to peer groups rather than families, a cynical view of the police, and the use of scenes in the Paris Métro to symbolise an alternative, underground society. The mixture of 'high' culture, such as the opera music of ''Diva'' and ''Les Amants du Pont-Neuf,'' and pop culture, for example the references to Batman in ''Subway'', was another key feature.〔
==Origins==
French filmmakers were inspired by New Hollywood films (most notably Francis Ford Coppola's ''One from the Heart'' and ''Rumble Fish''), late Fassbinder films (''Lola''), television commercials, music videos, and fashion photography.
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