GSICCS Seminar for 2016
This film studies seminar will focus on the investigation and analysis of various types of new wave cinema. New Wave was first used by French film critics in the 1950s for the films which rejected literary scripts, often based on a novel or a stage play, and instead adopted more improvizational scripts on current social issues or youth manners and customs, and stylistically abandoned traditional filmmaking conventions and instead experimented with the film form. Using portable equipment, requiring little or no set up time, relying on young and little know performers, New Wave way of filmmaking does not need a large fund. Because of that, New Wave films could reflect the personal view and formal taste of the filmmaker, rather than the intention and demand of the financier. New Wave later came to be used as a blanket term to characterize the various groups of the innovative films which emerged in other parts of the world. They include American New Wave Cinema, New German Cinema, Japanese 'Shochiku' Nouvelle Vague, Brazilian Cinema Novo, and Chinese 5th or 6th Generation Films among others. However, the French Nouvelle Vague was not the first New Wave. In some junctures of film history, a group of the films that revolutionalized filmmaking appeared and these can be considered as New Wave cinema. Soviet montage films and Italian Neorealismo are some of its good examples. Throughout the seminar this semester, various kinds of New Wave cinema are going to be taken up and the ways in which an alternative filmmaking is presented in them will be examined.
Seminar Schedule for Spring-Summer 2016
'One of the most important mechanisms behind the New Wave's rise was France's post-Second World War cultural context, especially the writings, teaching and mentoring provided by film critic, André Bazin. "André Bazn, the tireless organiser of the cultural terrain, as well as film critic and theorist, was at the very heart of Parisian cinephilia" or intense love of the cinema, writes Antoine de Baecque. Thanks to Bazin, his friends and his colleagues, Paris of the 1950s was like no place on earth: this was where people sought out films from the past, debated their relative values, evaluated their directors and wrote lively articles on films past and present. The New Wave owes more to the study of film history than does any other film movement, and its films reflect a uniqe fascination, respect and understanding for their place in world cinema. This is also why the New Wave became such an exemplary movement for cinema studies: it valorises a detailed knowledge of film history as well as film technique and storytelling.' Linda Badley, et. al., The Traditions in World Cinema
GSICCS Seminar for 2016
Diana Holmes, 'Sex, Gender and Auteurism: The French New Wave and Hollywood'
Lecture Note for Introduction to International Culture and Communication Studies