Until now, writings on the celebrated movements in literature and film that emerged in France in the mid-1950s - the New Novel and New Wave - have concentrated on their formal innovations, not on their engagement with history or politics. New Novel, New Wave, New Politics overturns this traditional approach. Lynn A. Higgins argues that the New Novelists (e.g., Alain Robbe-Grillet, Claude Simon, Marguerite Duras) and New Wave filmmakers (e.g., Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Alain Resnais) "engage in a kind of historiography.... They enact the conflicts, the double binds of postwar history and representation". Higgins claims that what art historian Serge Guilbaut has said of American Abstract Expressionism is equally true of the New Novel and New Wavethat its aesthetic innovations "provided a way for avant-garde artists to preserve their sense of social 'commitment'... while eschewing the art of propaganda and illustration. It was in a sense a political apoliticism". Higgins shows how the New Novel and New Wave are related developments. "While their individual styles and themes remain distinctive", she writes, "they share an ecriture that can be described as alternately, or interconnectedly, filmic and novelistic". New Wave filmmakers borrowed novelistic devices and made frequent literary allusions, while the "vision of the novelists is distinctly cinematic". A lively account that takes us to the crossroads where culture and politics meet, New Novel, New Wave, New Politics dramatically revises our view of a whole generation of important, influential artists.
In France , work on Positif came out around the time of the journal's 50th anniversary but this material has not been ... Susan Hayward , French Costume Drama of the 1950s ( Intellect , 2010 ) ; Thomas Pillard , Le Film noir français ...
The French New Wave was perhaps the biggest--and briefest--explosion in the history of world cinema, with more than hundred French directors shooting debut features between 1958 and 1964. Its aftershocks...
Higgins, New Novel, New Wave, New Politics, p. 138. Rodgers, 'Déconstruction de la masculinité', p. 53. Higgins, New Novel, New Wave, New Politics, p. 139. 27 28 29 30 31 32 see Aliette Armel, Marguerite Duras.
This work collects candid interviews with the creators of the Czech New Wave film movement (1960-2000).
A History of the French New Wave Cinema offers a fresh look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the most important New Wave movies of the late 1950s and ...
Kristin Ross, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, Io, Io. 82. Ross, Fast Cars, Clean Bodies, II. 83. Ibid., 21. Ross notes that the cultural centrality of the car in France “to a large extent ...
This book will be essential reading for second year undergraduates and above in sociology, politics, philosophy, and cultural studies.
This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave.
The trilogy of episodes concerning Duane Barry's abduction ('Duane Barry', 'Ascension' and '3' in the 1994 second series), however, owed more to conspiratorial and alarmist accounts: aliens and government agents seem interchangeable in ...
Lynn A. Higgins, New Wave, New Novel, New Politics (Lincoln: Nebraska University Press, 1996), Chapter 6 "Durasian (Pre)Docupations'. Higgins provides an excellent discussion of The War: A Memoir from the perspective of Duras' past as a ...