Pub Date : 2019-07-31DOI: 10.3366/edinburgh/9781474410632.003.0003
M. Schmid
This chapter examines theatre's double role as both rival and tutelary figure for New Wave directors. From Alain Resnais's theatrical fictions to Jean-Luc Godard's Brechtian conception of the cinematic medium, not forgetting Jacques Rivette's incorporation of theatre rehearsals and theatrical plots into the filmic fabric, the theatre takes centre stage in the New Wave as cinema's embodied 'other'. The chapter explores the manifold interactions with theatre and theatricality in New Wave film, focusing on intermedial tropes such as mise en abyme and metalepsis, but also interrogating the theatre's capacity - as postulated by Rivette - to reveal cinema to itself. We will see that the collective practices of avant-garde theatre of the 1950s and 60sopen up the concept of the auteur, creating a new space for improvisation and creative collaboration.
本章探讨了戏剧作为新浪潮导演的竞争对手和保护者的双重角色。从阿兰的戏剧小说让-吕克·戈达尔的电影媒介的布莱希特戏剧的概念,不能忘记雅克Rivette合并的剧院排练和戏剧情节融入电影的结构,剧院舞台中心在新浪潮电影的体现“其他”。这一章探讨了新浪潮电影中与戏剧和戏剧性的多重互动，重点关注中间的比喻，如mise en abyme和metalepsis，但也质疑了剧院的能力——正如里维特所假设的那样——向电影本身揭示电影。我们将看到20世纪50年代和60年代先锋戏剧的集体实践打开了导演的概念，为即兴创作和创造性合作创造了新的空间。
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Pub Date : 2019-07-31DOI: 10.3366/edinburgh/9781474410632.003.0002
M. Schmid
This chapter explores New Wave critics and filmmakers' ambivalent relationship with literature as both the main model to emulate and the major authority to challenge. Literature resurfaces not only in screen adaptation, but, more diffusely, in the myriad citations, inscriptions, and allusions punctuating the cinematic text, as well as in the graphological tropes used to legitimise film as an art form ('auteur', 'cinematic writing', 'camera pen'). The chapter assesses novel attitudes of the New Wave directors to adaptation and to questions of cinematic purity, revisits the collaboration between Nouveau roman writers and Nouvelle Vague directors, and analyses the manifold - sometimes irreverent, sometimes celebratory - incorporations of literature in a selection of films. Particular attention is given to the incorporation of the written word in Jean-Luc Godard's New Wave films as a symbol of media tensions in the director's work, and as a crucial example of his interstitial aesthetic, which breaks down traditional media boundaries.
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Pub Date : 2019-07-31DOI: 10.3366/edinburgh/9781474410632.003.0005
M. Schmid
The inception of the New Wave coincided with a profound mutation of the French urban fabric: parts of historic city centers were razed in post-war modernisation schemes, while 'new towns' were planned outside major cities to relieve the pressure of population growth. This chapter analyses New Wave filmmakers' diverse engagement with architecture - old and new - and urban change in both fictional and documentary genres. Themes for discussion include New Wave directors' ambivalent representation of the new forms of architectural modernity that emerged in France in the 1950s and 60s; their interrogation of the living conditions on modern housing estates; and their examination of the relationship between the built environment, affect, and memory. The chapter also considers the movement's fascination with the tactile textures and surfaces of the city.
{"title":"Architecture of Apocalypse, City of Lights","authors":"M. Schmid","doi":"10.3366/edinburgh/9781474410632.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474410632.003.0005","url":null,"abstract":"The inception of the New Wave coincided with a profound mutation of the French urban fabric: parts of historic city centers were razed in post-war modernisation schemes, while 'new towns' were planned outside major cities to relieve the pressure of population growth. This chapter analyses New Wave filmmakers' diverse engagement with architecture - old and new - and urban change in both fictional and documentary genres. Themes for discussion include New Wave directors' ambivalent representation of the new forms of architectural modernity that emerged in France in the 1950s and 60s; their interrogation of the living conditions on modern housing estates; and their examination of the relationship between the built environment, affect, and memory. The chapter also considers the movement's fascination with the tactile textures and surfaces of the city.","PeriodicalId":169918,"journal":{"name":"Intermedial Dialogues","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127553151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-31DOI: 10.3366/edinburgh/9781474410632.003.0004
M. Schmid
New Wave film exhibits a wealth of interactions with painting, ranging from the most literal inscriptions - the referencing of paintings, presence of painter figures and recording of the act of painting - to a plethora of more subterranean interactions. Taking Eric Rohmer's essay 'The Century of Painters' and André Bazin's'Painting and Cinema' as its starting point, this chapter analyses the movement's appropriation and reframing of the visual arts. Revisiting Jean-Luc Godard's incorporation of artworks in his films,it considers the director's practicealongside two filmmakers who were trained in the fine arts, AgnèsVarda and Guy Gilles. The chapter investigates seminal intermedial figurations such as the tableau vivant, as well as charting the three directors' varied engagement with a visual heritage no longer perceived as a restrictive model, but, on the contrary, as a rich repository of iconographies, motifs and techniques to be appropriated and reimagined.
{"title":"Painterly Hybridisations","authors":"M. Schmid","doi":"10.3366/edinburgh/9781474410632.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474410632.003.0004","url":null,"abstract":"New Wave film exhibits a wealth of interactions with painting, ranging from the most literal inscriptions - the referencing of paintings, presence of painter figures and recording of the act of painting - to a plethora of more subterranean interactions. Taking Eric Rohmer's essay 'The Century of Painters' and André Bazin's'Painting and Cinema' as its starting point, this chapter analyses the movement's appropriation and reframing of the visual arts. Revisiting Jean-Luc Godard's incorporation of artworks in his films,it considers the director's practicealongside two filmmakers who were trained in the fine arts, AgnèsVarda and Guy Gilles. The chapter investigates seminal intermedial figurations such as the tableau vivant, as well as charting the three directors' varied engagement with a visual heritage no longer perceived as a restrictive model, but, on the contrary, as a rich repository of iconographies, motifs and techniques to be appropriated and reimagined.","PeriodicalId":169918,"journal":{"name":"Intermedial Dialogues","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130386805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-31DOI: 10.3366/edinburgh/9781474410632.003.0007
M. Schmid
The conclusion sums up the findings of the book, taking stock of the role of the older arts in the New Wave'scultural legitimation. Drawing on Alain Badiou, it illuminates the New Wave's productive paradox: while positing film as art, the movement also asserted cinema's status as a popular medium better suited to reach a wide and diverse audience than the traditional arts. The conclusionfurthermore revisitsintermediality's function as both a mirroring device and a means to work through social and political issues.
{"title":"Conclusion","authors":"M. Schmid","doi":"10.3366/edinburgh/9781474410632.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474410632.003.0007","url":null,"abstract":"The conclusion sums up the findings of the book, taking stock of the role of the older arts in the New Wave'scultural legitimation. Drawing on Alain Badiou, it illuminates the New Wave's productive paradox: while positing film as art, the movement also asserted cinema's status as a popular medium better suited to reach a wide and diverse audience than the traditional arts. The conclusionfurthermore revisitsintermediality's function as both a mirroring device and a means to work through social and political issues.","PeriodicalId":169918,"journal":{"name":"Intermedial Dialogues","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123560115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-07-31DOI: 10.3366/edinburgh/9781474410632.003.0006
M. Schmid
As a medium grounded in photographic technology, cinema retains a deep fascination with photographic images. Focusing on films by François Truffaut, AgnèsVarda, Guy Gilles, Jean-Luc Godard and Chris Marker, this chapter explores the intersection between cinema and photography in New Wave film in the context of wider theoretical debates concerning the two media's relations to time, memory, death and what Raymond Bellour calls the new type of 'pensive spectator' created by still images in film. It also analyses the use of photographyas a privileged intermedial tool for grappling with questions of modernisation, colonialism and revolution at a time when France and the world were undergoing a period of major change.
{"title":"Still/Moving: Photography and Cinematic Ontology","authors":"M. Schmid","doi":"10.3366/edinburgh/9781474410632.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474410632.003.0006","url":null,"abstract":"As a medium grounded in photographic technology, cinema retains a deep fascination with photographic images. Focusing on films by François Truffaut, AgnèsVarda, Guy Gilles, Jean-Luc Godard and Chris Marker, this chapter explores the intersection between cinema and photography in New Wave film in the context of wider theoretical debates concerning the two media's relations to time, memory, death and what Raymond Bellour calls the new type of 'pensive spectator' created by still images in film. It also analyses the use of photographyas a privileged intermedial tool for grappling with questions of modernisation, colonialism and revolution at a time when France and the world were undergoing a period of major change.","PeriodicalId":169918,"journal":{"name":"Intermedial Dialogues","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121700904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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