Paul E

I was wondering if anybody knows any examples of British films influenced by the French New wave of the late 50s/early 60s either technically (jumpcuts, hand held cameras, long takes etc) or dramatically (themes of alienation, amoral but sympathetic lead characters and so on)?

dylan

It terms of technique: Richard Lester (Hard Day's Night), Tony Richardson (Tom Jones)and John Schlesinger (Billy Liar).

Lindsay Anderson with both technique and theme: This Sporting Life and If...

Rob Compton

I always thought Lindsay Anderson's "If" made up it's own rules. I remember being astounded when I first saw it

rgds
Rob

Jim

Talking of techniques, cameras, etc., I find that "impromptu, on the spot, fly on the wall, jerky, unsteady" camera techniques very tiring to watch! I find myself crying out loud "for land's sake, keep the bloody camera still!!!"

What do others think? :mad:

Good morning boys.

Gibbie

Quite agreed, it can be maddening. It only works in certain action styled and paced films like the ones above.

Definitely, the aforementioned movies Britified the French influence, which had a big influence at that time.

alan gowdy

The NYPD Blue syndrome - deeply irritating. If the camera represents an observer who is, for example , eavesdropping on a scene and is ducking and diving to conceal his position OR who is being jostled in a crowd then it is both acceptable and even necessary that the camera moves to reflect this. Otherwise, stick the thing on a tripod and just frame the shot properly.

"Don't forget... one of petrol, two of meths"

smudge

Repulsion ?

Welcome to my house. Enter freely, and of your own will...

Chas Devlin

technique : Tony Richardson's "The Loneliness of the Long Distance Runner". Cinematographer Walter Lassally used hand held cameras for some of the riot scenes in the dining hall and also for the scenes at the seaside where the boys and girls are walking along the shore.

dramatically : Carol White's wonderful portrayal of Joy in Ken Loach's "Poor Cow" fits the bill perfectly as an amoral but sympathetic lead character.

Gibbie

One last thought: Truffaut's "400 Blows" was a major precursor to the in your face, life is hopeless mindset that had it's influence on people like Richardson, Schlesinger and the Pinteresque crowd.

It's time to move on.

johnnny nova

I find most Brit-movies devoid of the "hand-held madness breeds authenticity" snuff-styled garbage'(pronounced with the French-est of accents)that is STILL in vogue here in the States. If you want to see the worst example, look no farther than "The Blair Witch Project". Great example of guerilla filmaking cost-effectedness...but those of you not currently R.A.F. fighter pilots WILL NEED A BARFBAG-the camera jolts CONSTANTLY. Cheers

XXX

Paul E

This is the only film suggested here which I can agree with as being a direct development of French new wave films. Whilst I agree that various other films may have borrowed some of the NV bag of stylistic tricks, If... is the only one which seems to me to be a direct descendant, perhaps not surprising considering its debt to Zero de Conduite, and Godard, Truffaut and co's well voiced admiration for Vigo.

chickylfc

does anybody have an idea about how it reflects the politics and culture developments of the time when it was most popular? i'm having an assignment on this but the only thing im thinking of is its social reflection, which is the conflict between classes in England such as working class and middle class. i'm not originally from the UK so I dont really know what happened at that time in UK. Plz help me. Thanks

dylan

I suggest you read John Hill's book on the new wave films, Sex, Class and Realism.

Hill’s contention that some groups are better placed than other to apply and communicate their definitions of society is born out by the manner in which Michael Balcon and Ealing Studios produced films aimed at liberal social reform influenced by post-war political speeches and writings. In a similar manner, the generally middle-class Oxbridge, theatrical or “scholarship boy” backgrounds of the makers of New Wave films gave an outsider’s view which tended to romantise individual male working-class figures rather than presenting radical viewpoints. The significance of class relationships was obscured and sexual attitudes had a rigid conformity. However, Hill’s criticisms tend to be generalizations based on the assumption that films should have a progressive ideological agenda and a Marxist interpretation for what happens to their characters. Such a view diminishes from what was genuinely innovative about the New Wave films with their frequently realistic and honest portrayals of working-class life together with the stronger roles played by women than in previous British films.

D.

Ljelja

Peter Hutchings also talks about breaking the boundaries of the studio made films. They are important in dealing with human sexuality in a more straightforward way, as well. Films often feature extramarital sex, homosexuality (which was deemed unwelcome in the mainstreams of the time)...and focus on working-class hero's (often an alienated male, supressed by the ever-expanding consumerism and decline of the British world domination) leisure and in lesser extent working hours. Also, they tend to be shot on location in the Midlands or further north, thus enforcing gloomy atmosphere.

New wave represented a fresh onrush of realism, dealing with an anti-hero, rather than a hero, featuring anti-establishmentism, individualism + rebellion and all the facets of rising modern capitalism.

Torquemada

Blow Up and The Knack?