Film History: The Foreign Wave - Timeline of Cinema Ep. 4

Summary

In this episode of 'A Timeline of World Cinema,' host Bradley Weatherholt delves into the Foreign New Wave, an international movement that redefined cinema as both an art form and a mode of national expression post-World War II. The episode explores influential figures like André Bazin, who introduced the auteur theory, and iconic films such as 'Bicycle Thieves,' 'The 400 Blows,' and 'Seven Samurai.' It also highlights the cross-cultural influence between European, American, and Japanese filmmakers, setting the stage for a global cinematic evolution.

Takeaways

• 🎥 The Foreign New Wave was an international movement that transformed cinema into an art form and a means of national expression.
• 🌐 It emerged as a response to Hollywood's dominance and the cultural impact of post-World War II, with European countries implementing protectionist policies to preserve their film industries.
• 📰 Cinema magazines played a pivotal role in disseminating the ideas of the movement, with 'Cinema' magazine in Italy being a key publication chronicling Italian Neorealism.
• 🇮🇹 Italian Neorealism, exemplified by films like 'Rome, Open City' and 'Bicycle Thieves', was a significant part of the movement and was influenced by the socio-economic conditions of the time.
• 🤝 The necessity for economic collaboration in film production led to the blending of national cinematic styles, as seen in Federico Fellini's 'La Dolce Vita'.
• 📚 'Cahiers du Cinéma' was the leading French film journal that propelled the French New Wave, featuring critical articles from influential figures like Jean-Luc Godard and François Truffaut.
• 🧠 André Bazin's theoretical framework, emphasizing 'objective reality' in cinema and the 'auteur' theory, had a profound impact on how films were viewed and created.
• 🎬 French New Wave directors like Truffaut and Godard introduced new narrative techniques, such as open-ended stories and jump cuts, which were a departure from traditional filmmaking.
• 🌟 American cinema also had a significant influence on the movement, with directors like Orson Welles and Nicholas Ray being highly regarded for their innovative approaches to film.
• 🎌 Japanese cinema, particularly Akira Kurosawa's 'Rashomon' and 'Seven Samurai', introduced unique storytelling and technical innovations that had a lasting impact on global cinema.
• 🤠 'Seven Samurai' was so influential that it inspired Western films like 'The Magnificent Seven', demonstrating the cross-cultural exchange within the film industry.
• 💬 Despite initial resistance, Hollywood eventually adapted to the changes brought by the Foreign New Wave, with a new generation of directors shaping the future of cinema.

Q & A

What was the primary motivation behind the Foreign New Wave movement in cinema?

The Foreign New Wave movement arose as a response to Hollywood's dominance and the devastation of post-World War II, with European countries instituting protectionist policies to defend their film industries and resist American cultural influence.

How did European countries protect their film industries after World War II?

European countries implemented protectionist policies to defend their film programs, aiming to reduce American influence, especially as American troops occupied Europe, sparking fears of cultural colonization.

What role did the magazine 'Cinema' play in the Italian Neorealism movement?

The Italian magazine 'Cinema' was a pioneering publication that chronicled the Italian Neorealism movement, which emerged from the ruins of Fascism. Ironically, it was edited by Vittorio Mussolini, son of Benito Mussolini.

What film is considered the culmination of the Italian Neorealism movement, and why?

Vittorio De Sica's 'Bicycle Thieves' is considered the culmination of the Italian Neorealism movement. It represents the height of the movement's themes and techniques while also signaling its end due to the changing economic realities of the time.

Who was André Bazin, and why is he significant in the history of cinema?

André Bazin was a cofounder of the film journal 'Cahiers du Cinéma' and is considered one of the most influential thinkers in cinema history. He revolutionized film theory with his emphasis on 'objective reality' and the auteur theory, which argues that the director is the primary author of a film.

What were the main characteristics of the French New Wave films?

French New Wave films, led by directors like François Truffaut and Jean Luc Godard, often featured open-ended stories, existential themes, and innovative techniques like jump cuts to illustrate the passage of time. They emphasized the director's personal vision, aligning with Bazin's auteur theory.

How did Japanese cinema influence global filmmaking during the Foreign New Wave era?

Japanese cinema, particularly through the works of directors like Akira Kurosawa and Yasujirō Ozu, introduced new filmmaking techniques and storytelling methods. Kurosawa's 'Rashomon' and 'Seven Samurai' had a significant impact, with 'Seven Samurai' even influencing Hollywood films like 'The Magnificent Seven' and 'Star Wars.'

What innovations did Akira Kurosawa bring to filmmaking, and how did they impact cinema?

Akira Kurosawa introduced several innovations, such as shooting directly into the sun and using black ink in rain effects for visibility on film. These techniques, along with his unique storytelling methods, had a profound impact on global cinema and inspired future generations of filmmakers, including George Lucas and Steven Spielberg.

What is the significance of 'Seven Samurai' in the history of cinema?

'Seven Samurai' is considered one of the greatest Japanese films ever made. It combined action-packed entertainment with sophisticated artistry, influencing global cinema and serving as a template for future films, including Hollywood's 'The Magnificent Seven' and George Lucas's 'Star Wars.'

How did Hollywood respond to the Foreign New Wave movement?

While the American cinema waned during the Foreign New Wave period, Hollywood eventually struck back with a new class of directors in the decades following, leading to the creation of the blockbuster era. This resurgence will be discussed in the next episode titled 'New Hollywood.'

Outlines

00:00

🎥 The Rise of the Foreign New Wave

The episode introduces the Foreign New Wave, an international film movement that redefined cinema as both an art form and a medium of national expression. Emerging as a response to Hollywood's post-World War II dominance, the movement was fueled by European countries' protectionist policies aimed at defending their film industries and resisting American influence. This era saw cinema absorb and reflect culture, with the Italian Neorealism movement leading the charge. Publications like the Italian magazine 'Cinema' chronicled this shift, highlighting the work of directors like Roberto Rossellini and Vittorio De Sica, whose films such as 'Rome, Open City' and 'Bicycle Thieves' became landmarks of the movement. The collaboration with international studios, as seen in Federico Fellini's 'La Dolce Vita,' signaled the end of Neorealism and the movement’s shift from Italy to France.

05:06

🎬 The Influence of French and American Cinema

The discussion transitions to the French New Wave, heavily influenced by the film journal 'Cahiers du Cinéma,' led by thinkers like André Bazin. Bazin's theories, including the 'auteur' theory, revolutionized cinema by positioning the director as the primary author of a film. This movement was epitomized by directors like François Truffaut and Jean-Luc Godard, whose films 'The 400 Blows' and 'Breathless' introduced new cinematic techniques and existential themes. Despite the dominance of European cinema, American directors like Orson Welles and Nicholas Ray also played pivotal roles, influencing the New Wave with films such as 'Citizen Kane' and 'Rebel Without a Cause.' The era also acknowledged Charlie Chaplin as a timeless cinematic figure. Meanwhile, Japanese cinema, with directors like Akira Kurosawa and Yasujirō Ozu, introduced innovative filmmaking techniques, with films like 'Rashomon' and 'Seven Samurai' gaining global acclaim and influencing Hollywood’s new generation of filmmakers.

Keywords

💡Foreign New Wave

The Foreign New Wave refers to a significant international film movement that emerged after World War II. It emphasized cinema as an art form and a means of national expression, challenging Hollywood's dominance. This movement included various national cinemas, such as Italian Neorealism and the French New Wave, which sought to explore new cinematic techniques and narratives that were often in stark contrast to mainstream American cinema.

💡Italian Neorealism

Italian Neorealism was a film movement that began in post-World War II Italy, characterized by its focus on the lives of ordinary people and the harsh realities they faced. The movement sought to depict everyday life with a sense of authenticity and often used non-professional actors and on-location shooting. Films like Roberto Rossellini's 'Rome, Open City' and Vittorio De Sica's 'Bicycle Thieves' are iconic examples, showcasing the impact of Fascism's fall and the struggles of post-war Italy.

💡Cahiers du Cinéma

'Cahiers du Cinéma' is a French film journal that played a pivotal role in the French New Wave. It was a platform for critical discussion and theoretical exploration of cinema, with contributions from influential filmmakers like Jean-Luc Godard and François Truffaut. The magazine, co-founded by André Bazin, advocated for the 'auteur theory' and was central to shaping the direction of global cinema during the 1950s and 1960s.

💡André Bazin

André Bazin was a French film critic and theorist, co-founder of 'Cahiers du Cinéma,' and a leading figure in the French New Wave. He is best known for his advocacy of 'objective reality' in cinema and the 'auteur theory,' which posits that the director is the primary author of a film. Bazin's writings deeply influenced the direction of film theory and practice, as his ideas on realism and cinematic authorship resonated globally, impacting filmmakers in Europe, the United States, and beyond.

💡Auteur Theory

The auteur theory, popularized by André Bazin and 'Cahiers du Cinéma,' posits that the director is the primary creative force behind a film, effectively its author. This theory revolutionized the way cinema was viewed, emphasizing the director's personal vision and style. It was a cornerstone of the French New Wave, influencing directors like François Truffaut and Jean-Luc Godard, who used their films to express personal and existential themes, marking a departure from more traditional, studio-driven filmmaking.

💡Seven Samurai

'Seven Samurai' is a 1954 Japanese film directed by Akira Kurosawa, considered one of the greatest films ever made. It tells the story of a village that hires seven samurai to defend it from bandits, blending action with deep character development. The film's influence extends beyond Japan, inspiring Western films like 'The Magnificent Seven' and even 'Star Wars.' Kurosawa's innovative techniques in this film, such as dynamic action scenes and the exploration of group dynamics, solidified his place as a master filmmaker.

💡French New Wave

The French New Wave was a revolutionary film movement that emerged in the late 1950s and 1960s in France, characterized by its experimental style and narrative techniques. Directors like François Truffaut and Jean-Luc Godard were at the forefront, using techniques such as jump cuts and non-linear storytelling to challenge conventional cinema. This movement significantly influenced global cinema, encouraging filmmakers to explore more personal and unconventional approaches to storytelling.

💡Mise-en-scène

Mise-en-scène refers to the arrangement of everything that appears in the framing of a film—actors, lighting, décor, props, and costume. In the context of the Foreign New Wave, particularly under André Bazin's influence, mise-en-scène was emphasized as a means of achieving 'objective reality,' allowing the audience to engage more deeply with the film. This concept was integral to the cinematic style of filmmakers like Orson Welles, whose use of deep focus and elaborate sets in 'Citizen Kane' exemplifies the power of mise-en-scène.

💡Jump Cuts

Jump cuts are an editing technique that involves abrupt transitions between shots, often used to suggest the passage of time or to create a sense of disorientation. This technique was popularized by the French New Wave, particularly by Jean-Luc Godard in films like 'Breathless.' The use of jump cuts represented a break from traditional, seamless editing, reflecting the movement's desire to innovate and challenge the norms of cinematic storytelling.

💡Objective Reality in Cinema

Objective reality in cinema is a concept advocated by André Bazin, who believed that films should depict reality as closely as possible without manipulating the viewer's perception. This idea was a reaction against the more stylized and manipulated forms of cinema that preceded the New Wave. Techniques such as long takes, deep focus, and wide-angle shots were used to maintain the continuity of time and space, allowing the audience to interpret the scene without the director's overt interference. This concept influenced many filmmakers of the era, including those in Italian Neorealism and the French New Wave.

Highlights

Introduction to the video series 'A Timeline of World Cinema' and its focus on the Foreign New Wave movement.

The Foreign New Wave brought attention to cinema as both an art form and a means of national expression.

The movement arose in response to Hollywood's dominance and the devastation of post-World War II.

European countries introduced protectionist policies post-WWII to defend their film programs, driven by both economic and cultural motives.

Italian Neorealism emerged from the ruins of Fascism, with significant contributions from figures like Vittorio De Sica and Federico Fellini.

Roberto Rossellini's 'Rome, Open City' and Vittorio De Sica's 'Bicycle Thieves' were pivotal films in the Italian Neorealism movement.

The French New Wave was significantly influenced by the film journal 'Cahiers du Cinéma,' with key figures like Jean Luc Godard and François Truffaut.

André Bazin, co-founder of 'Cahiers du Cinéma,' revolutionized film theory with his concept of 'objective reality' in cinema and the auteur theory.

The auteur theory, proposed by Bazin, suggested that the director is the primary 'author' of a film, influencing global cinema.

French directors François Truffaut and Jean Luc Godard led the French New Wave, with films like 'The 400 Blows' and 'Breathless.'

Japanese cinema in the 1950s, particularly the work of Akira Kurosawa and Yasujirō Ozu, had a significant influence on global filmmaking.

Akira Kurosawa's 'Seven Samurai' is considered one of the greatest Japanese films ever made, influencing both Eastern and Western cinema.

The American cinema was also influential during this period, with directors like Orson Welles and Nicholas Ray impacting the Foreign New Wave.

Kurosawa's 'Seven Samurai' inspired George Lucas's 'Star Wars,' demonstrating its lasting influence on Hollywood.

The Foreign New Wave movement eventually led to the rise of a new class of Hollywood directors, who would go on to create the blockbuster.

Transcripts

Hello everyone and welcome to our video series, "A Timeline of World Cinema"

I'm Bradley Weatherholt and I will be your host on this journey through the history of film.

In this episode we will discuss the Foreign New Wave: the international movement that

forever changed the world of cinema.

The Foreign New Wave brought a new attention to cinema as art and also as a form of national expression.

The variety and multitude of foreign cinema at this time makes it very difficult to define

and even distinguish it from the main stream Hollywood films of that time.

One thing is certain, though: the movement arose in response to Hollywood's dominance

and the devastation of post World War II.

After the war, European countries instituted protectionist policies to defend their film programs.

On the surface, these policies were introduced for economic reasons.

However, many believe that the measures were made to deter the American influence at that time.

American troops still benevolently occupied Europe, leading to a widespread fear that

America was trying to colonize the European subconscious.

Unlike America, the impact of television hadn't fully taken place in Europe.

The Box Office went unchallenged as the primary visual entertainment.

Cinema absorbed culture.

Cinema magazines, which published articles on the movement, began to circulate rapidly.

The Italian magazine, "Cinema," was one of the early pioneering publications.

The magazine began chronicling Italian Neorealism, a movement rising from the ruins of Fascism.

An interesting piece of irony: the magazine, "Cinema," which chronicled the Italian movement,

Post-Fascism, was edited by Vittorio Mussolini, son of "Il Duce" himself, Benito Mussolini.

When Roberto Rossellini's "Rome, Open City" won the grand prize at Cannes, the international

film community began to realize Italian Neorealism.

In 1948, Vittorio De Sica released bicycle thieves, perhaps the most significant Neorealist picture.

The film was the culmination of the entire movement and at the same time signals the

beginning to its end.

The economic realities of the time demanded that Italian pictures be produced in collaboration

with other national studios.

Italian filmmaker, Federico Fellini embraced this collaboration, producing "La Dolce Vita"

with the help of French studio Pathe.

The film is a landmark in the battle against censorship, providing the best case that the

Neorealist movement had ended.

The Foreign Wave shifted away from Italy and moved to its neighbor, France.

At the forefront of the French New Wave was the film journal, "Cahiers du Cinéma."

The magazine featured articles from critical cinematic figures, like Jean Luc Godard and

François Truffaut.

The leader of the magazine, and perhaps the movement as a whole, was its cofounder, André

Without question, André Bazin was the most influential thinker of his time.

He provided a theoretical framework for film, which we still employ today.

In his essays, featured in "Cahiers," he revolutionized the way cinema was viewed, focusing on what

he called the "objective reality" of cinema.

He argued against the contemporary cinema of manipulation.

Instead, he favored objective cinema, the use of "mise-en-scène," deep focus, and wide

angle shots.

Of all his innovations, his theory of "auteur" stands alone, marking perhaps the largest

theoretical breakthrough in the history of cinema.

Through the auteur theory, Bazin argued that the director, by means of his personality

and preference, was the primary "auteur" or author of the film.

The impact resonated throughout the entire world.

Because of this, Bazin is one of the greatest minds of cinematic history.

As Jean Renoir stated in "What is Cinema," a collection of Bazin's essays, "His writings

will survive, even if cinema does not."

With the backing of Bazin, Europe led the world of cinema.

Two French directors, François Truffaut and Jean Luc Godard, were ahead of this movement.

Truffaut's "The 400 Blows" and Godard's "Breathless" provide a turning point for filmmaking.

They both involve open-ended stories, revolving around existential questions of purpose.

Directors, particularly Godard, pioneered jump cuts like these to illustrate the passage

of time.

But it would be disingenuous to paint the movement as something taking completely outside

of the United States.

In fact, some of the most revered directors of that time came from the United States.

Bazin argued that Orson Wells was one of the greatest minds in all of cinema.

Wells' "Citizen Kane" particularly favored Bazin's love of objective filmmaking.

American director, Nicholas Ray, known for films such as "Rebel Without a Cause" was

so influential to the New Way, Jean Luc Godard stated, "Cinema is Nicholas Ray."

Finally, most of the major figures of the time perpetuated the notion that American

director, Charley Chaplin, would likely be remembered as the greatest filmmaker of all time.

"Soldiers! In the name of democracy, let us all unite!"

The filmmakers of France and the United States inspired each other, but there was another

country reviving from the ashes of World World II, which also influenced the global scene

at the time.

Japanese cinema, particularly in the 1950s, flourished.

With the film, "Rashomon," Japanese director, Akira Kurosawa, and acting legend, Toshiro

Mifune, introduced the world to a completely new method of filmmaking.

With the help of cinematographer, Kazuo Miyagawa, Kurosawa experimented with the camera, famously

shooting directly into the sun.

Since the camera would not pick up the simulated rain, pumped through water hoses, the crew

added black ink to the water to show up on the film.

Innovations such as these show the unique method of Japanese filmmaking.

Another filmmaker, Yasujirō Ozu, defined his own version of Japanese cinema.

Ozu mostly used a static camera and, unlike Hollywood, he filmed dialogue above the eye

line and directly, not over the shoulder.

In 1953, Ozu released his masterpiece, "Tokyo Story."

A year later, Akira Kurosawa released "Seven Samurai," his magnum opus.

"Seven Samurai" is ranked as one of the greatest Japanese films ever made.

The film involves the recruitment of seven samurai by a modest village extorted by a

band of marauders.

For various reasons, warriors of different style and psychology are enlisted by the first

of the recruits, the noble ronin Kambei.

The film's protagonist, played by the legendary Toshiro Mifune, is Kikuchiyo, a moody prankster.

His sympathy for the villagers matures as he evolves into a great samurai.

The role of Kikuchiyo as reluctant hero has been repeated countless times.

More than just one character, the entire film is frequently immulated .

Wester film, "The Magnificent Seven," is a direct remaining of the film. After all, cowboys

are to west as samurai are to the east.

"Seven Samurai" would ultimately become a favorite of a new generation of filmmakers

in Hollywood.

George Lucas admitted to deliberately pacing Star Wars with Seven Samurai in mind.

Like "Star Wars," "Seven Samurai" accomplishes something few films can: it serves not only

as an action-packed piece of entertainment, but also a sophisticated work of art.

The film cemented Akira Kurosawa as one of cinema's greats.

Steven Spielberg himself stated he learned more from Kurosawa than any other filmmaker.

If Kurosawa is a great teacher, then "Seven Samurai" is his greatest lecture.

While far from muted, the American cinema certainly waned during this period, leading

many studio producers to begrudgingly comment on the movement.

Such as Billy Wilder, the revered studio director, who jokingly advised to shoot a few scenes

out of focus, since he wanted to win a foreign film award.

However, Hollywood often proves a difficult beast to tame and in the decades following

the Foreign New Wave, Hollywood struck back with a new class of directors, who would ultimately

create the blockbuster and forever changed the world of cinema.

We'll discuss these directors in the next episode, "New Hollywood."