By Michel Marie
L. a. Nouvelle obscure est l’un des mouvements cinématographiques les plus célèbres de l’histoire du cinéma. Est-ce pour autant une « école » au sens que ce terme possède en histoire de l’art ? C’est l’analyse que suggest ce livre en précisant les stipulations économiques et options d’apparition des motion pictures des jeunes cinéastes des années 1958-1962.
La Nouvelle obscure est d’abord un slogan journalistique, mais c’est aussi un thought critique, fondé sur un mode de construction et des choix recommendations et stylistiques. C’est également une esthétique nouvelle qu’illustrent des movies comme À bout de souffle, Les Quatre cents coups, L’Eau à los angeles bouche ou Les Cousins.
Cette troisième édition se nourrit des nouveaux travaux que ne cesse de susciter ce phénomène qui a profondément marqué l’histoire du cinéma dans le monde entier.
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Extra resources for La nouvelle vague : Une école artistique (3e édition)
Lijun is an emotionally starved, modern free spirit who still has close links to a traditional family structure. Chunmei has terrifying encounters with the worst of both customary and modern cultural arrangements before being rescued by the best of the modern. What we see, then, are individuals and couples who are confused by the complexities of the modern marriage. Multiple variables are in play as these young people actively negotiate with their cultural and social environments. The subject is new-style marriage relations.
Furthermore, the cosmopolitan, bourgeois husband and wife have a beautiful infant son. What is wrong with this picture? Nothing. They have a lovely modernstyle home. The two seem to love and respect each other. They seem to have chosen each other freely—in the modern way. Each has his or her own circle of friends. They seem to be quite comfortable in material terms and look like strong candidates for ongoing upward social mobility. In brief, the opening, set-up portion of this picture is designed to leave the clear impression that this modern marriage is solid, stable, and emotionally fulfilling.
But if the film is so liberal, why do the filmmakers spend so much time scapegoating and bashing the key woman character—Xiuzhen? Surely this is a case of culturally conservative Confucian critics saying, “I told you so. ” Does not the film explicitly blame the entire debacle on the vanity of modern women, women who are in a position to ruin their husbands and families? The key to understanding this disquieting aspect of A String of Pearls is to remind ourselves that the modern marriage was nowhere defined in the film in utopian terms.