The New Wave was essentially the British response to French contemporary equivalent-the auteur cinema of Nouvelle Vogue by Truffaut, Godard and others, which focussed on innovative narrative and cinematic techniques, vitally making cinema a personal expression of the director. Even as the British New Wave drew significantly from auteurism of the Nouvelle Vogue, adapting literary and theatrical source material and focusing on realism, the 'tell-it-like-it-is New Wave movies distinctly differed from its French counterpart in form and style. Perceivably influenced by documentary-style realism, New Wave artistically combined the vision of the novelists or the playwright, and cinematic creativity of the director.
The paper attempts to analyse the creative aspirations and the artistic influences of the New Wave filmmakers with a view to understanding and categorising the essential genre of British New Wave, as a cinema of the auteur or as a cinema of the writer. ...
Wave adapted and altered the auteur theory of contemporary French cinema, combining the art and craft of the writer and director in distinctly remarkable ways.
Crucial to the analysis may be an understanding of the historical development of the movement, and the motives and motivations of the New Wave filmmakers. The mid-1950s, a period of profound change in Britain's socio-cultural landscape, proved a breeding ground for new movements in art and literature. As British society emerged from the economic turmoil of the post-war 'austerity' period, the long- pending agenda for social change assumed significance in literary and cultural discourses. A new class of writers, the "Angry Young Men" emerged in theatre and literature, challenging the social status quo, their works focusing on the reality of life for the working class of the industrial north, who were beginning to acquire a certain level of social and economic power. [Lay, 2002; Murphy, 2000]
On the film production front, the WWII and post-war years saw cinema emerging as "a popular and vital element of national culture." [Murphy, 2000; p.5]. While the mainstream British cinema focused on the affluent south presenting a partial national culture, by the mid-1950s, a parallel cinema - the Free Cinema - originated as some playwrights and film critics of the "Angry Young Men" circle separately embarked on a new style of film production - the low-budget documentary style social commentary on contemporary working class society of the grimy north. Lindsay Anderson's O Dreamland, Karel Reisz and Tony Richardson's, Momma Don't Allow and Lorenza Mazzetti's Together were the first movies of the new 'free' cinematic style. These movies attempted to import the Angry Young Man trend into cinema, as Tony