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| Breathless (A Bout de Souffle) |
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| Jean-Jacques Beneix, 1981 |
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| Jean de Florette & Manon des Sources |
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| I Can't Sleep (J'ai Pas Sommeil) |
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| Hypothesis that a movie is given its essential identity by one person: the director. Film exhibits as well the distinctive signature of its auteur and may be profitably studied as such. |
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| A documentary style that arose in the 1960s and which emphasized real events captured usually with a handheld camera (the effects of which create a moving, jumpy, easily identifiable visual style) |
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| The fictional world of the film, the "actual" world of the film's story created by its narrative. It includes events that are presumed to have occurred and actions and spaces not shown onscreen. A “non-diegetical” element is one that is not part of the film’s world. |
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| When an image slowly disappears from the screen, replaced by another subsequent image which is momentarily superimposed upon it. |
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| An opening shot of a film or a film sequence intended to reveal (often with the use of titles) the local in which the film or film sequence will take place. |
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| The border of a single exposed image. |
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| An identifiable type or form of film |
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| A camera held by a cameraman (not on a tripod or a dolly), creating a moving, jumpy, easily identifiable visual style. Highly prized in cinema verité |
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| An opening or closing circle which either reveals or occludes the images in a frame. |
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| A very rapid cut from one image to another. |
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| In a film, the contiguous positioning of either two images, characters, objects, or two scenes in sequence, in order to compare and contrast them, or establish a relationship between them |
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| All those aspects of a movie that pertain to arrangement of an image in a frame. |
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| The rapid juxtaposition of images, cutting from one to another to create an effect. |
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| An element--incident, device, reference, formula––which recurs frequently in a work or works. |
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| When an off-screen, extra-diegetic voice speaks to us in a movie. |
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| Sound that does not have a visible source in the film's diegesis. |
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| The perceptual or conceptual position in terms of which the narrated situations and events are presented. |
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| A shot in which the action is seen from the general perspective of a character. |
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| Adding sound after filming |
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| The literary text of a film to be shot, including dialogue, shot breakdown, stage directions, etc. |
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| The systematic study of signs and their significance. |
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| A discernible segment of narrative containing scenes and marking an identifiable dramatic part of the overall story |
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| A continuous block of unedited footage from a single point of view |
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| A POINT OF VIEW shot in which the camera seems to become the eyes of a character. |
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| Sound that seems to have a source in the images on screen and in the film's diegesis. |
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| When the voice of one of the characters speaks over the narrative on the soundtrack, helping to tell the story. |
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| Cutting edge art, art ahead of its time |
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| A subgenre of films created by filmmakers of North. These films pose questions about French national cinema and the role of outsiders and insiders in French society. |
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| A style of film-making unique to the 1980s and early 1990s. It is characterized not by any particular politics or ideology, but rather technical mastery of the medium and a spectacular visual style. |
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. A "genre," first identified by the French, which emerged during and after the
Second World War in America. Characterized by pessimism, visual and moral darkness, an obsession with crime, and extensive use of voice-over. |
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| idealized portrait of an aspect or historical moment in French culture, “nostalgic portrait of a France that is no more,” patrimoine; epic |
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A late 1950s/early 1960s movement in French filmmaking led by directors like Godard, Truffaut, Chabrol. New emphasis on the creative role of the director and made frequent use of on location filming, non-professional actors, innovative editing, handheld camerawork.
• Movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence.
• Produced on tight budgets
• Parts of scripts are improvised
• New wave directors often collaborated together |
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| A cultural style or sensibility, a response to an evolution from modernism, which exhibits disunity, superficiality, parody, irony, indifference, discontinuity, disrespect, alienation, meaninglessness. |
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