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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 and Jean-Luc Godard. We will also examine the work of Left Bank feminist filmmaker, Agnès Varda. 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
This course will provide students with an opportunity to develop the Graduate Attributes specified below:
Critically competent in a core academic discipline of their award
Students know and can critically evaluate and, where applicable, apply this knowledge to topics/issues within their majoring subject.
Biculturally competent and confident
Students will be aware of and understand the nature of biculturalism in Aotearoa New Zealand, and its relevance to their area of study and/or their degree.
Globally aware
Students will comprehend the influence of global conditions on their discipline and will be competent in engaging with global and multi-cultural contexts.
Any 30 points at 200 level from CINE, orany 60 points at 200 level from the Schedule V of the BA.
CULT321
Mary Wiles
Please check the course LEARN page for further details and updates.
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, 2015.• Cinema Studies: The Key Concepts. 6th 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)
Week One: Introduction The 400 Blows (Les quatre cents coups; Truffaut, 1959)Zero for Conduct (Zéro de Conduite; Vigo, 1933) Week Two: François Truffaut: Musical MotifsJules and Jim (Jules et Jim; Truffaut, 1962) Week Three: Early Influence: Italian Neorealism Voyage in Italy (Viaggi in Italia; Rossellini, 1953) Week Four: Early Influence: French Film Noir The Big Sleep (Hawks, 1944) Week Five: Jean-Luc Godard: Reinventing Genre Breathless (A bout de souffle; Godard, 1960) Week Six: Agnès Varda and Chris Marker: Left Bank Filmmaking Cléo from 5 to 7 (Varda, 1962); La Jetée (Marker, 1962) Week Seven: Documentary: Cinema Verité in Britain A Hard Day’s Night (Lester, 1964) Week Eight: Jacques Demy Umbrellas of Cherbourg (1963) Week Nine: Federico Fellini: The Italian Wave La dolce vita (1960) Week Ten: Vera Chytilova: Czech New Wave Daisies (Sedmikrasky; Chytilova, 1967) Week Eleven: Banlieue Cinema: Contemporary Paris Hate (La Haine; Kassovitz, 1995) Week Twelve: Post-New Wave Auteur CinemaThe Class (Entre les murs; Cantet, 2008)
Please note that this course requires in-person engagement for students to succeed, and it is not designed to be taken by distance. Many of the twelve films shown in our in-person screening sessions will not be able to be sourced by students offsite, and students are required to be present and contribute in person to fulfil participation requirements. Lectures and workshops have a strong discussion component. ECHO recordings of lectures are offered as study resources, and are not a replacement for consistent in-person attendance.
Domestic fee $1,641.00
International fee $7,500.00
* 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 .