This paper will analyze a particular movement in it which is called French New Wave.
One would make no mistake that after the World War II the cinema in France was experiencing revival. Indeed, 1950’s and 1960’s were the decades when talented directions were trying to construct their own unique vision of the world and convey it with the help of their films. At first the public as well as the critics did not accept this novel approach in a positive way, considering it to be raw, absurd and completely lacking any aesthetics. However, over time the bold new vision of the film makes was praised and accepted. Nevertheless, the decline of interest toward French New Wave emerged in 1980’s with new cultural dominant appearing in the global artistic environment.
Considering the development of the above mentioned movement, one can not help noticing that it has been largely influenced by the American noir films as well as the directors who made them. In other words, it is not the mainstream Hollywood movies that shaped their worldview, but rather those movies which were created by true masters of their trade (Kaplan 2009, p. 56). Indeed, the French directors wanted their movies to have design and aesthetics that would be characteristic to one director only, creating the world which can not be confused with the work of someone else.
It is quite obvious that the analysis of French New Wave may not be completed without examination of its formal and narrative styles. Speaking of the former, it must be noted that the directors experimented with new techniques of editing and tried to present their movies in an unusual manner. For example, tracking shots or jump cuts were frequently used to show the fragmentation of the narration (Marie 2003, p. 43). Long shots were used primarily to organize the visual environment and present the audience with a better understanding of the general situations. Another point that should be