They were known to make radical changes with editing, narrative part and visual style. They were using portable instruments. This meant that they needed very little or no time to set up. Their films resembled documentaries in style. Filming skills and techniques involved discontinuous and fragmented editing. The socio-economic effects of the Second World War influenced the formation of this movement (Bazin, 1985, 248-259). France was politically and financially drained; therefore, the country tended to go back to the old pre-war traditions (Klin, 1992, 8).
One of those old traditions was going back to the classical French film which was narrative cinema. In this style, the audience was subjected to a forceful plot-line. Some referred to it as a dictatorial plot-line. According to Klin, the new wave was against the quality of cinema in France. French classical cinema was considered to be of high –minded type and which was unmoved by critics (1992, 8).
The French new wave was popular between 1959 and 1964. The new wave directors had to study the work done by western classics. The emerging group then applied a new avant garde stylistic direction. This ended up being a low budget approach. One of its advantages was that it helped the filmmakers get at the necessary art form. They were able to develop what they considered a more authentic and honest production (Bazin, 1985, 248-259). Howard Hawks and Charlie Chaplin among many other great film makers were held in high regard and considered as forward-thinking film makers. There was a craving among the younger generation to have another kind of entertainment. They knew that the process of executing change was not going to be easy. This is because they had to challenge the status quo (Bazin, 1985, 248-259). Generally speaking, some traditions had to be broken.
Many of French new wave films were shot using a director’s friends as crew and cast. They were also shot