A historical and analytical study of the French unit at the National Film Board of Canada (1939-1980). - Page 73 |
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The Italian neo-realism movement developed after
the Second World War and did not influence directly the
French Unit at the NFB. However, as Issari reports:
The Italian neo-realist movement
in essence freed cinema from old
conventions, breathed new life into
it, expanded and humanized it and
thus brought it closer to the visual truth.8
As such the neo-realist movement is worth considering.
The French new wave was born in the mid-fifties
and consisted primarily of a group of film critics of
Les Cahiers du Cinema. The group defended the author
theory and totally rejected all conventional myths and
principles. They encouraged film makers in experimenting
with new technique and subject-matters. They introduced
many new procedures such as free camera work, improvisation
in acting (Franqois Truffaut), the replacement of
conventional and detailed scripts by simple notes or
outlines or nothing at all, and jump cuts' in editing
(Jean—Luc Godard), The author theory influenced in a
way film makers of the French Unit, La lutte (19 61) is
a collective work and is discussed in this chapter.
This simplistic summary account of cin§ma verite
Shall suffice to examine next respective influences on
the National Film Board's, film productions.
67
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| Title | A historical and analytical study of the French unit at the National Film Board of Canada (1939-1980). - Page 73 |
| Repository email | cisadmin@lib.usc.edu |
| Full text | The Italian neo-realism movement developed after the Second World War and did not influence directly the French Unit at the NFB. However, as Issari reports: The Italian neo-realist movement in essence freed cinema from old conventions, breathed new life into it, expanded and humanized it and thus brought it closer to the visual truth.8 As such the neo-realist movement is worth considering. The French new wave was born in the mid-fifties and consisted primarily of a group of film critics of Les Cahiers du Cinema. The group defended the author theory and totally rejected all conventional myths and principles. They encouraged film makers in experimenting with new technique and subject-matters. They introduced many new procedures such as free camera work, improvisation in acting (Franqois Truffaut), the replacement of conventional and detailed scripts by simple notes or outlines or nothing at all, and jump cuts' in editing (Jean—Luc Godard), The author theory influenced in a way film makers of the French Unit, La lutte (19 61) is a collective work and is discussed in this chapter. This simplistic summary account of cin§ma verite Shall suffice to examine next respective influences on the National Film Board's, film productions. 67 |
