Anatomy of a film revolution: The case of the Nouvelle Vague
1993; Elsevier BV; Volume: 21; Issue: 5 Linguagem: Inglês
10.1016/0304-422x(93)90004-z
ISSN1872-7514
Autores Tópico(s)French Historical and Cultural Studies
ResumoThis paper examines the social requirements for successful movements of change within cinema. Using the case of the French Nouvelle Vague (1958–1961), I argue that the explanation of stylistic revolution in film requires a model significantly different from that developed for painting (White and White 1965, Crane 1987). The substantial cost of film production means that movements in film require some form of mass base, a base that, at least in the case analyzed herein, is formed by a combination of social, economic and cultural forces with which film has little to do. Consequently, the critical issue with respect to the success of film movements is not the formation of an audience as it is in painting, but rather the act of recognizing the potential of an audience already formed. In undertaking this process of recognition, cinema, because of its deep cost structure, is dependent on efforts within ‘cheaper’ media like literature and journalism to prove the viability of the audience for a particular range of styles, themes and narrative techniques.
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