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:''"Nouvelle Vague" redirects here. For the music group of the same name, see Nouvelle Vague (band). For other meanings, see Nouvelle Vague (disambiguation). The New Wave ((フランス語:La Nouvelle Vague)) is a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, along with their spirit of youthful iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. "New Wave" is an example of European art cinema.〔() 〕 Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end.〔Thompson, Kristin. Bordwell, David. ''Film History: An Introduction'', Third Edition. McGraw Hill. 2010, p.407–408.〕 == Origins of the movement == Alexandre Astruc's manifesto, "The Birth of a New Avant-Garde: The Camera-Stylo", published in ''L'Écran'' on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and the ''Cahiers du cinéma''. It argues that "cinema was in the process of becoming a new means of expression on the same level as painting and the novel:" "a form in which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the 'camera-stylo.'"〔Marie, M. The French New Wave: An Artistic School. 2003.〕 Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the famous film magazine ''Cahiers du cinéma''. ''Cahiers'' co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called ''auteur theory''. (The original French "La politique des auteurs", translated literally, as "The policy of authors".) ''Cahiers du cinéma'' writers critiqued the classic "Tradition of Quality" style of French Cinema. Notable among these was François Truffaut in his manifesto-like article "Une Certaine tendance du cinéma français". Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. These men of cinema valued the expression of the director's personal vision in both the film's style and script.〔Thompson, Kristin. Bordwell, David. ''Film History: An Introduction'', Third Edition. McGraw Hill. 2010, p.407〕 Truffaut also credits the American director Morris Engel and his film Little Fugitive with helping to start the French New Wave, when he said "Our French New Wave would never have come into being, if it hadn't been for the young American Morris Engel who showed us the way to independent production with (this) fine movie." The auteur theory holds that the director is the "author" of his movies, with a personal signature visible from film to film. They praised movies by Jean Renoir and Jean Vigo, and made then-radical cases for the artistic distinction and greatness of Hollywood studio directors such as Orson Welles, John Ford, Alfred Hitchcock and Nicholas Ray. The beginning of the New Wave was to some extent an exercise by the ''Cahiers'' writers in applying this philosophy to the world by directing movies themselves. Apart from the role that films by Jean Rouch have played in the movement, Chabrol's ''Le Beau Serge'' (1958) is traditionally (but debatably) credited as the first New Wave feature. Truffaut, with ''The 400 Blows'' (1959) and Godard, with ''Breathless'' (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish. Part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification. The auteurs of this era owe their popularity to the support they received with their youthful audience. Most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. With high concentration in fashion, urban professional life, and all-night parties, the life of France's youth was being exquisitely captured.〔Thompson, Kristin. Bordwell, David. ''Film History: An Introduction'', Third Edition. McGraw Hill. 2010, p.409〕 The French New Wave was popular roughly between 1958 and 1964, although New Wave work existed as late as 1973. The socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to fall back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French "cinema of quality", the type of high-minded, literary period films held in esteem at French film festivals, often regarded as "untouchable" by criticism. New Wave critics and directors studied the work of western classics and applied new avant garde stylistic direction. The low-budget approach helped filmmakers get at the essential art form and find what was, to them, a much more comfortable and contemporary form of production. Charlie Chaplin, Alfred Hitchcock, Orson Welles, Howard Hawks, John Ford, and many other forward-thinking film directors were held up in admiration while standard Hollywood films bound by traditional narrative flow were strongly criticized. French New Wave might be influenced by Italian Neorealism〔 and classical Hollywood cinema.〔 In a 1961 interview, Truffaut said that "the 'New Wave' is neither a movement, nor a school, nor a group, it's a ''quality''" and in December 1962 published a list of 162 film directors who had made their feature film debut since 1959. Many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring at the well-known members of the New Wave and today would not be considered part of it. Shortly after Truffaut's published list appeared, Godard publically declared that the New Wave was more exclusive and included only Truffaut, Chabrol, Rivette, Rohmer and himself, stating that "''Cahiers'' was the nucleus" of the movement. Godard also acknowledged filmmakers such as Resnais, Astruc, Varda and Demy as esteemed contemporaries, but said that they represented "their own fund of culture" and were separate from the New Wave. Many of the directors associated with the new wave continued and continue to make films into the 21st century.〔A. O. Scott, "Living for Cinema, and Through It", New York Times, 25 June 2025, () Access date: 30 June 2009.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「French New Wave」の詳細全文を読む スポンサード リンク
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