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A survey of the New Wave movements which swept cinema in the 60's, with an emphasis on the nouvelle vague in France.
This course will examine the French New Wave as a revolutionary moment in the history of cinema. We will address what is generally perceived to be the formative relation between the New Wave film movement and other innovative national cinema styles that emerged in the midst of the political and cultural turbulence of the late sixties. The first part of our course will focus on the films of core New Wave directors, François Truffaut, Jean-Luc Godard, and Claude Chabrol. We will address their work from within an historical context of key film movements and styles that served as influences, such as Italian Neorealism, Film Noir, and French Surrealism. In the second part of the course, we will move beyond the parameters of the nouvelle vague to examine the period known as May ’68 and such “new” cinema styles as the Czechoslovak New Wave, Italian cinema of the 1960s, and cinema verite.
By the end of this course, students will have developed:Specialised knowledge of critical concepts and methodologies of discipline Extensive knowledge of the relationships between selected films and their social, cultural and historical contextsAdvanced ability to interpret and critically analyse filmsIndependence and confidence in formulating ideas and presenting a critical position, both in oral and written communicationConsistent application of standard academic research practices regarding quotations, references and bibliographyInitiative and pleasurable engagement in research, viewing, reading and writingIntellectual versatility and independence
30 points in CINE at 200-level, orequivalent preparation with the approval of the Programme Coordinator.
CULT321
Mary Wiles
Required Reading:• Making Waves: New Cinemas of the 1960s by Geoffrey Nowell-Smith.Recommended Reading: • Jacques Rivette by Mary Wiles. University of Illinois, 2012.• A Short Guide To Writing About Film by Timothy Corrigan. 9th Edition, 2014. • Cinema Studies: The Key Concepts. 4th Edition. Susan HaywardNote: The above texts are available for purchase from UBS Bookshop and are available on three-hour loan at the Central Library. Links to selected readings that are not from the course texts can be found on Learn.(Image: "breathless still shots of smoking jean seberg: san Francisco (2012)" by torbakhopper, licensed under CC BY-NC 2.0.)
Library portalLearn Course outline (available via Learn for enrolled students only)
Film List:Week One (18 July): IntroductionThe 400 Blows (Les quatre cents coups; Truffaut, 1959)Zero for Conduct (Zéro de Conduite; Vigo, 1933)Week Two: Italian NeorealismVoyage in Italy (Viaggi in Italia; Rossellini, 1953)Week Three: Film NoirThe Big Sleep (Hawks, 1946)Week Four: Jean-Luc Godard: Reinventing GenreBreathless (A bout de souffle; Godard, 1960)Week Five: Jacques Rivette: The Conspiracy and the CityParis nous appartient (Rivette, 1961)Week Six: Agnès Varda and Chris Marker: Left Bank FilmmakingCleo from 5 to 7 (Varda, 1962); La Jetée (Marker, 1962)Week Seven: Documentary: Cinema Verité or Engagé?Le Joli Mai (Lovely Mai; Marker, 1962)Week Eight: Jacques DemyUmbrellas of Cherbourg (1963)Week Nine: Federico Fellini: The Italian WaveLa dolce vita (1960)Week Ten: Godard: Paris of the Post-New Wave2 ou 3 choses que je sais d’elle (Two or Three Things I Know About Her, 1967)Week Eleven: Garrel: Paris and May 1968Les Amants Reguliers (Regular Lovers, 2005)Week Twelve: Paris TodayLes Chats Perchés (The Case of the Grinning Cat; Marker 2004)
Domestic fee $1,464.00
International fee $5,950.00
* All fees are inclusive of NZ GST or any equivalent overseas tax, and do not include any programme level discount or additional course-related expenses.
For further information see Humanities .