Cinematic Microcosm and Cultural Cosmologies: Elements of a Sociology of the New Wave
2010; University of Texas Press; Volume: 49; Issue: 4 Linguagem: Inglês
10.1353/cj.2010.0018
ISSN1527-2087
AutoresPhilippe Mary, Nataša Ďurovičová,
Tópico(s)Social and Cultural Dynamics
ResumoThe Old and the New. The old is a of teamwork,2 a well-organized, professional made by masters of decor and lighting, with its slick images. It is also a of screenwriters, with well-known dialogue writers such as Jacques Prevert, Jean Aurenche, Pierre Bost, and Henri Jeanson adapting literary classics or novels by Simenon, virtuosos of the quotable line or the witty repartee. It is, as well, a of stars, magnifying their images and reliant on their commercial attractiveness, which the popular press helps boost. And finally, it is a big-budget cinema, subject in part to the logic of production for a mass audience. This mode peaks in the Tradition of Quality, the French Quality style in which Marcel Carne,Jean Delannoy, Claude Autant-Lara, Rene Clement, Henri-Georges Clouzot, and so on, came into their own. This also garners the most prestige: following as it does all the rules of the art, showing off the most celebrated stars at their best, it reaps awards at festivals and is admired by writers, including Sartre, then at the height of his fame.3 The new cinema, in turn, is the New Wave, the young cinema with its emblematic works: The 400 Blows {Les quatre cents coups [Truffaut, 1959]), Breathless {A bout de souffle [Godard, I960]), Paris Belongs to Us [Paris nous appartient [Jacques Rivette, I960]), Les cousins
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