فصل المونتاج ، الموجة الجديدة وما بعدها .. كتاب فهم السينما

The new wave and beyond

It is interesting that many of Bazin's apostles were directly responsible for the return to impressionist montage techniques in the late fifties and early sixties. During the 1960s, Kodar and Truffaut both wrote reviews in the journal Cinematographic Papers, before turning to filmmaking in the later years of that decade. This pattern was repeated in England and the United States, as the new wave was called. This movement was like miraculous electricity in both the theoretical and practical frameworks. were members of this group. Nor was this a tightly knit group united by an obsessive enthusiasm for film culture, and the range of their enthusiasm was unusually broad, extending from Hitchcock to Renoir, from Eisenstein to Flaherty, from Ford to Dreyer. Although these auteur-directors were somewhat dogmatic in their personal tastes, they tended to avoid Dogmatics in theorizing. They could admire a long cycle of Rosolini's film as well as admire a very choppy scene from an Eisenstein film. Techniques made sense to most of them only in terms of substance. Discussions of form were usually placed within the context of content, and vice versa. In fact, it was the new wave that spread the idea that (what) the film says cannot be separated and that it is linked to (how) it says it.

The new wave did not favor a formal style of montage. The films of Akniss Varda, for example, tended to follow the Bazin model of long shots and long cycles relatively. Her movie (Happiness), for example, seems very indebted to Renoir's great musical works. Rene's films, on the other hand, tend to emphasize fragmentation. The topic of subjective time is revealed primarily through montage in works such as (Hiroshima, my love) and the war ended. Claude Chabrol mixed the influence of Hitchcock - especially in his exploitation of this type of psychological thriller - with the techniques of objective presentation advocated by Bazin.

Truffaut and Kodar, the most prominent filmmakers of the New Wave, possessed the most encyclopedic techniques. Truffaut's first feature film (400 strokes) tended to use realist practices, with an emphasis on long shots, mise-en-acnes, motion cameras, and extended sessions (the Pianist was called, on the other hand, more impressionistic than Editing: Truffaut's first film is deeply indebted to Renoir's films and Bazin's theories.His second film is more indebted to the American genre, with its emphasis on action, anticipation, and a fast, clean style of editing.Truffaut alternated through his work from style to style. His deep love for Renoir's work, while we find in "The Bride Wears Black" and "Horiya Al-Masbi" that the primary influence is that of his other idol, Hitchcock. However, these are only generalizations. The works of many of these artists combine styles within one film. Truffaut's film (Joul and Jem), for example, contains scenes of lyrical delicacy and flowing seductiveness that only a handful of directors can match. In the same film, we find scenes with quick complex intelligence in which montage plays a major role.

Jean-Luc Kodar is the most rewarding innovator of the new wave, and perhaps in all contemporary cinema. He gave us two films a year almost since the beginning of his work as a director at the end of the fifties. At the time, the self-imposed spread the intentional cut with a gap, which became a common tradition in the sixties and seventies (4-23).

In fact, the title seemed to refer to the jump-gap montage as much as to the story itself. Disoriented jumps in time and space, untethered clips and a general lack of plot all reflect a sense of turmoil, a need for direction and spontaneity for the central character (Jean-Paul Belmondo), a charming but unable mobster who unconsciously mimics Humphrey Bouckaert's nervy Kodar style in this film's editing. Particularly suitable for embodying the sense of youth anxiety and rebellion, although it also reflects an attitude closer to philosophy, one that emphasizes the fragmentation and fragmentation of contemporary life. This montage method was often used, especially in films dealing with young heroes.

However, Kodar also experimented with realistic alternatives in montage as well (4-24). (Policemen), for example, was filmed mostly with long shots and long sessions to achieve documentary-like objectivity in Rosolini's films, another cultural hero in the New Wave. A masculine and feminine film, one of Kodar's greatest works, is an example of hybrid styles and influences. There is a scene in the movie that consists of a shooting session One and the camera is still for seven minutes in an incredibly long shot. The shot in Kodar's film, like a similar scene from the movie (400 Strikes), is a scene of an interview with a character, a style borrowed from the cinema of truth, and it is a documentary movement that emphasizes the use of a hand-held camera and the direct interview method. The film (Male and Feminine) presents many clips that take only a part of a second.

What makes many New Wave films attractive is, in short, the optional ability in styles to exploit impressionistic and realistic techniques according to the dramatic and psychological needs of the scene. Within a few years, directors from other nations would embody the lessons of the New Wave mostly uncritically. In the next decade, the most trivial of films would use the editing techniques originally published by Kodar & Associates.

Movies of obsession and preoccupation with youth in the sixties were zooming in and out, exchanging pieces, and cutting with fast turns and jumping, even if there was no specific thing to cut to.

With the movie (Midnight Cowboy), which is well written and wonderfully acted, it was defective because of John Schelsinker's style of montage, which is very far from the tenderness and intimacy of the subject matter. Some films failed even during the seventies with the audience partly because of the montage style, which appeared "old" in comparison to impressionist ideas often. John Huston's excellent Fat City was cut according to the classic convention of montage (a style he himself contributed to in films such as The Maltese Falcon and The Treasures of Ceramicadra). Of energy Few bother to note that passivity and exhaustion are the main characteristics of the film's characters and so Houston's careful editing was organically linked to these ideas.

The legacy of the New Wave is a valuable legacy, as it spreads the view that . Montage methods should not be determined by prevailing conventions, technological shortcomings, and dogmatic statements, but according to the nature of the subject material itself (4-25).