French New Wave

This article examines Jean-Luc Godard's Film Socialisme (2010) through its references to the fiction of William Faulkner. This article contends that Film Socialisme's distinctive method of allusion serves a poetic function, beckoning our attention to how language, representations, and ideas recirculate, and what this means to us—or should mean to us—in a world pervaded by digital technology and intellectual property regimes. Godard's references to the fiction of William Faulkner serve as a case study, not only because they offer a rich illustration of how Godard reworks his source material, but also because the filmmaker has consistently gestured to the work of Faulkner throughout his career, from his first feature-length film to his most recent. This article finds that the film's circuitous and prolific method of allusion functions both as a means to critique commonly held notions of authorship, and to point out the absurdity of copyright laws, or as they are known in France, droits d'auteur. Further, Film Socialisme's use of Light in August in points to an epistemic anxiety regarding the limits of language and narrative to faithfully represent lived experience, and in turn, the world.

Sinema akımları, bir filmin teknik ve estetik unsurlarını belirleyen sinematografik bir çerçeve sunar. Bu çerçeve çoğu zaman biçimsel özelliklerle sınırlı kalmayıp içeriğin arka planındaki sosyal, kültürel ve politik düzlemden de beslenir. Özellikle sinemanın sanatsal bir disiplin olarak kendini inşa ettiği dönemde sinema akımları, ülke sinemalarıyla paralel bir yol izlemiştir. Ülkelerin kültür politikaları doğrultusunda şekillenen akımlar ve onların temellendirildiği film kuramları, yirminci yüzyılın kaygan zemininde ayakta kalmaya çalışan ulus-devlet rejimlerine bir dayanak noktası gibidir adeta. Sinema akımları da, tıpkı diğer sanat akımları gibi yıllar içerisinde kendi geleneklerini oluşturur. Nitekim, geleneğe karşı çıkışla başlayan süreç yine geleneğe ait olmakla sonuçlanır. Bu gelenekleşme kimi zaman o kadar derinlere iner ki bir ülke sinemasını ona damgasını vuran akım dışında değerlendirmek imkansız hale gelir. Her yeni film üzerinden yıllar geçse dahi o akım ışığında değerlendirilmeye ve eleştirilmeye mahkumdur. Elbette, bu sanatsal üretim açısından kısır bir döngüye yol açar. Sinema tarihine damgasını vuran Fransız Yeni Dalgası ise gelenekleşmeden nasibini alsa da, sinemaya getirdiği " auteur yaklaşımı " ile yönetmenin filmi şekillendirme gücünü öne çıkararak benzerlerinden ayrılır. François Truffaut 1954 yılında Cahiers du Cinéma'da " Une certaine tendance du cinéma français " makalesinde Fransız sinemasının " Tradition de la Qualité " olarak adlandırılan klasik anlatı kalıpları altında sıkışmış, birbirinin kopyası senarist filmlerini eleştirir. Bu tarz filmlerde, yönetmen neredeyse basit bir set işçisi konumuna indirgenir, senaristin metnini birebir filme almaktan öteye gidemez. Truffaut ve Cahiers'de yazan diğer eleştirmenler, Amerika'da büyük stüdyoların sebep olduğu benzer koşullara rağmen kendi imzasını filmlere atmayı başarabilen Alfred Hitchcock ve Howard Hawks'ı mercek altına alırlar. Bu derinlemesine incelemeler, yıllar içerisinde senaryodan çok mizansene önem veren Fransız Yeni Dalgası'nın müjdecisi olacaktır. Geliştirdikleri auteur yaklaşımı ışığında, her Yeni Dalga yönetmeni kendine özgü bir film yapım biçimi oluşturmuştur. Ancak, geleneksel anlatı kalıplarının dışına çıkan, stüdyo sınırlarını aşarak amatörlüğü yücelten bu " görsel metinler " in ortak bir sanatsal ruh taşıdığı da unutulmamalıdır. Dolayısıyla, geleneğe karşı çıkış motifi Yeni Dalga kapsamında yeni bir gelenek doğurmuştur. Bu sanatsal düzlemde Eric Rohmer'in Yeni Dalga içerisindeki konumu incelenmeye değerdir.

Eric Rohmer was a key figure in French New Wave cinema. His death in 2010 sparked renewed interest in his diverse body of works that span films, criticism, and television work. Contributors to this volume - a mix of well-known and younger scholars of cinema - visit, revisit, complicate, and at times upend accepted readings and interpretations of perennial Rohmerian topics including the important role of language in his films, the influence of the arts, depictions of gender and class, and the roles played by space and place in his films.

This article explores the New Wave's divergence from Bazinian principles of cinematic realism. While Bazin undoubtedly helped shape the future auteurs' realist ambitions, providing them with a discursive framework for considering questions of cinematic truth, the New Wave filmmakers soon realized the inherent difficulties in Bazin's belief that photography and cinema were tools for achieving phenomenological "truth." They therefore developed intricate strategies for critiquing their own films' truth claim as well as for infusing their films with subjectivity. The resulting "actuality aesthetic" is a showcase for cinema as art's most translucent medium; aspiring to represent life "as it is," but in the process of doing so, manipulating the image and subjectifying reality.

"YARININ FİLMİ bana bir romandan daha kişisel geliyor; bir itiraf ya da
samimi bir günlük kadar kişisel ve otobiyografik olacak. Genç filmciler kendilerini birinci tekil şahıs olarak ifade edecekler ve başlarından geçenleri anlatacaklar — bu onların ilk aşkları olacak ya da sonuncusu; politik uyanışları; bir seyahatname; bir hastalık; askerlik hizmetleri; evlilikleri; en son tatillerinin öyküsü — ve bunun her zaman tadına varacağız, çünkü bu gerçek ve yeni olacak. ”

This essay studies the long-overlooked and long-forgotten French New Wave filmmaker, Paule Delsol, focusing on her debut feature, La Dérive (Drift, 1962–1964). Using archival primary documents, the essay first examines Delsol's artistic emergence, her independent mode of production, her interactions with François Truffaut and her outlier status within the New Wave. Second, the essay examines the feminist design of
La Dérive, its stylistic and temporal agitations, its considerations of
female-centred domestic binds in 1960s France, versus better-known
New Wave texts. Third, the essay contrasts La Dérive’s polarised
reception, especially its censorship and distribution problems, with
Delsol’s enfranchised status at Cahiers du cinéma, emphasising her
many published contributions to the New Wave’s agenda. In sum, we discover the full embattled range of Delsol's long-repressed career, and finally correct the often reproduced line that Agnès Varda was the only woman associated with the French New Wave.

La produzione cinematografica di Agnès Varda è notoriamente ricca di riferimenti alla pittura. Le citazioni appaiono, nei suoi film, in modalità diverse: citazioni “in cornice”, tableaux vivants, inquadrature rifatte “à la manière de” un determinato artista. Il saggio si sofferma su alcune citazioni particolarmente significative, che non si limitano a istituire legami con temi, significati o atmosfere del film, ma forniscono chiavi interpretative essenziali per l’intera composizione filmica. Tra i film analizzati: Le Bonheur (1964), Lions Love (1969), Jane B. par Agnès V. (1987).

The article analyzes post-structural theoretical perspectives in analogies to the construction of films. According to Gilles Deleuze, supported by an interpretation of the works by Lewis Carroll, a functional lack is a key element of every system, as it activates and dynamizes that system, motivating the recipients to undertake cognitive activity. Hence fiction and related analyses and interpretations work according to the same rule – they are “a hunt for meaning”. This hypothesis is supplemented by an observation made on the basis of a New Wave film by Jacques Rivtte, Out 1, regarding the reflexive “detexcentralization” and “materialization” of theory in the cinema.

Through the lens of Russian Formalists this paper explores how Robert Bresson narrows the expressiveness of his individual shots to expand his stylistic ability to liberate the cinema from its dependence on theatrical conventions and literary expectations.  Using many early observations concerning cinematic form by the Russian formalists, Robert Bresson's film PICKPOCKET is discussed as an anachronistic fulfillment of the Formalists discussion of unique aspects of cinematic expression: That Robert Bresson limits what can be seen with the naked eye in his films to open new vistas of cinematic expressiveness.  4 shots from a sequence of the film PICKPOCKET are analyzed to reveal how limiting visual expression potentially increases cinematic expressiveness.

In 1965, worldwide acclaimed French filmmaker Jean-Luc Godard created a dystopian world governed by a totalitarian system, and to be specific a computerized entity, criticizing exactly what the present societies of the 21st century are considered victims of. His attempt to recreate Paris as, on one hand the heart of European modernism and on the other a foreground image of the future metropolis, has not only exploited the common background thoughts of European cinema, but also reimagined a whole universe of technological totalitarianism. The striking aspect of Alphaville (1965) is the extreme similarity with the current world’s commodified image. On a narrative level, the main protagonist’s name ‘Caution’ comes from a place known as the ‘Outlands’, strong repelling names that are referred, according to the movie, as every place or person that does not correspond to the technological rules and principles of the city of Alphaville. Mapping these names on today’s reality, they can refer to certain political actors who deviate from the state’s exerting-power approach, of which in my opinion would be the future of Paris in Godard’s perspective. On a symbolic level, the city imposes certain policies and regulations to be followed, exerts political power and control over its citizens through artificial intelligence, and encompasses symbolic signs, e.g. arrows, whose aim is to force individuals to move in a directed path with limited freedom or flexibility. On an architecture level, Alphaville is represented physically with modern features and hard reflective surfaces, which basically identify the soulless society that has become imprisoned within its own modern computerized buildings.
The aim of this paper is to analyze the similarities between Godard’s dystopian picture and the world today, with the focus on Paris during the 1960s and today, from three perspectives: the characters, the symbolic images, and the architecture features. My objective is to explore Godard’s personal stance on the political world through Alphaville, and how he attempted to re-draw and at the same time predict the future of the modernized society.

While much has been written about Jean-Luc Godard in relation to his formal experimentation or his political activism during his Nouvelle Vague period in French Cinema of the 1960s. However, little has focused exclusively on the politicized creation of discursive space between sound and image. In this research paper, I point to this discursive relationship between visual and sonic sources of information within Godard’s work, and showcase how it subverts Classical Hollywood conventions and enables Godard to use film style to express his political views.

This paper received First Class Honors at Trinity College, Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

Testo in italiano

IL CLAN DEI CINEASTI. L'ESTETICA DEL NOIR SECONDO JEAN-PIERRE MELVILLE, JOSÉ GIOVANNI, HENRI VERNEUIL
Il clan dei cineasti vuole offrire una introduzione critico-teorica allo studio di un genere che, per almeno tre decenni, ha generosamente nutrito l'universo iconografico del cinema europeo. Nell'avvicinarsi all'opera di Jean-Pierre Melville, José Giovanni e Henri Verneuil, l'autore concentra il proprio interesse analitico in seno a quattro direttrici interpretative: sono presi in esame i complessi rapporti con l'immaginario veicolato dal cinema americano, i vincoli ideologici con le più tipiche convenzioni del genere, le rispettive concezioni del corpo divistico e, in chiusura, due emblematici esempi di "intersezione autoriale".

This essay examines the "Introduction to the method of Alfred Hitchcock" segment in episode 4A of Jean-Luc Godard's Histoire(s) du cinéma to argue that what appears to be a straightforward salute to Hitchcock's poetic power and control of the universe is, in fact, a complex attempt on Godard's part to distinguish his own videographic montage. Godard is shown to build towards a moment of distinction that turns on the device of superimposition, which Godard retools in Histoire(s) as an instrument of detection, the discoveries of which are potentially miraculous. The stakes of Godard's reworking are shown to be public rather than private, and ethical as much as formal.

This article analyzes the use of musical pieces by Mozart and
Beethoven which reoccur in the following films by Jean-Luc Godard: Breathless
(1960), The new world (1962), A married woman (1964), Pierrot le fou (1965),
Masculine Feminine (1966), Made in USA (1966), 2 or 3 things I know about her
(1967), First Name: Carmen (1983) and Liberté et patrie (2002). It focuses on
meanings, which, reoccur with the music, such as death, infidelity, tragedy and
unanswered questions.

This the last of four undergraduate lectures in which I explore how the thought of Michel Serres can inform film studies. I embarked upon the lectures as a speculative experiment, but in writing them I became convinced that there are rich resources in Serres’s thought for generating novel and engaging readings of films that often depart from critical orthodoxy in productive ways, just as does Serres’s thought itself. I post the lectures here in their original form, reflecting the conventions and register of spoken delivery. My hope is that they can be a stimulation to scholars of film studies and scholars of Serres’s thought alike.

Shakespeare adaptations share an intimate relation with global studies, because Shakespeare – as a cultural institution – registers a broad spectrum of practices that generate productive dialogues with world cultures. Global studies enables us to examine deceivingly harmonious images of Shakespeare’s works. This paper examines culturally fluid, contemporary adaptations in relation to digital cultures. Mining rhizomatic and non-linear flows of tropes, my approach evaluates the connections among Saudi, Bollywood, and French New Wave films. ::::: The second part of this paper traces global Shakespeares during the outbreak of COVID-19 in early 2020. While the global pandemic closed live theatre events and cinemas worldwide, it also ushered in a new phase of globalization fuelled by on-demand digital videos as at-home audiences took to streaming to engage with Shakespeare. In tandem with the spread of coronavirus, there is a global viral spread of Shakespeare that carries site-specific meanings with them in disembodied forms. ::::: Delineating the relations between Shakespeare and global studies in adaptations and in digital culture, this paper outlines the future challenges and opportunities for the fields. ::::: Résumés francais : Les adaptations de Shakespeare entretiennent un lien privilégié avec les études de la mondialisation, car Shakespeare, en tant qu’institution culturelle, recouvre un large éventail de pratiques qui génèrent des dialogues productifs avec les cultures du monde. Les études mondiales nous permettent d’examiner une certaine image, trop simpliste, des œuvres de Shakespeare. Grâce aux méthodologies rhizomatiques de Deleuze et Guattari, cet article analyse les adaptations contemporaines et les met en vis-à-vis avec les cultures numériques. En explorant les connexions non linéaires entre les cultures, mon approche approfondit les liens entre les films saoudiens, les films bollywoodiens et les films français de la Nouvelle Vague. La deuxième partie de cet article parcourt les adaptations internationales de Shakespeare durant l'épidémie de COVID-19 au début de l'année 2020. Alors que la pandémie a conduit à la fermeture des salles de cinéma et l’arrêt des représentations théâtrales non virtuelles dans le monde entier, elle a également inauguré une nouvelle phase de mondialisation alimentée par un circuit de vidéos à la demande, que les spectateurs ont adopté afin d’entretenir leur passion pour Shakespeare. Parallèlement à la propagation du coronavirus, on a pu observer une propagation virale mondiale de Shakespeare à travers des flux numériques qui apportent un nouveau sens en dépit d’une forme désincarnée. En juxtaposant les contextes culturels et la portée locale de trois films avec l’émergence de significations numériques inédites, cet article décrit les futurs défis et opportunités qui se profilent pour Shakespeare et les études de la mondialisation. ::::: https://journals.openedition.org/shakespeare/7040

The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo.

Au cours des années 1950, la normalisation de l’usage de l’automobile entraîne des modifications capitales dans la conception de la vie humaine, que ce soit sur le plan des relations entre les individus, des rapports au temps et à l’espace, etc. La «nouvelle quotidienneté sublime» (Ross ; 2006 ; 39) qu’est la voiture frappe à ce point l’imaginaire social européen et américain que se constitue une «mythologie de l’automobile» (Barthes). Cependant, dès le début des années 1960, l’augmentation inquiétante du taux d’accidents de la route, particulièrement en France (l’hécatombe routière y connaît son sommet en 1972 avec 16 548 morts, selon l’ONISR), provoque un fort désenchantement et conduit à une réévaluation du mythe de l’automobile. Ce renversement du mythe est accentué par une série d’événements tragiquement célèbres (morts de James Dean, d’Albert Camus, de Jayne Mainsfield, etc.). De la Bardot de Godard (Le Mépris, 1962) qui périt dans une décapotable au roman culte Crash que publie J. G. Ballard en 1973, en passant par la célèbre série «Death and Disaster» de Warhol (1962-1964), des représentations culturelles de l’accident routier se multiplient tout au long de la Ve République. La littérature reprend cet élément fascinateur, le complexifie et le déplace, trouve des moyens poétiques et narratifs pour explorer toutes les facettes de la nouveauté technologique et sociologique que sont la conduite automobile et des risques qu’elle peut faire courir.

Sur la carte de l’imaginaire, les embouteillages et les attroupements autour des accidents de voiture en viennent à métaphoriser une résistance au changement social donnée pour typiquement française et dont le « Français moyen » serait l’incarnation symbolique. Entre autres représentations alimentées par ce thème, le blocage apparaît de façon particulièrement significative dans le film Week-end de Jean-Luc Godard et dans le roman Les Choses de la vie de Paul Guimard. Produites la même année, en 1967, et traitant du même phénomène social, la motorisation de la France, ces œuvres sont très différentes sur le plan idéologique. La première, œuvre-choc exigeante et chérie de la critique godardienne, se situe dans la lignée du marxisme : elle critique la modernisation bourgeoise et l’idéologie dominante. À l’opposé, la seconde répond au goût du grand public et tend à défendre des valeurs bourgeoises. Or, en dépit de cet antagonisme idéologique, l’analyse révèle que ces deux œuvres mettent en récit à la fois l’accident, l’embouteillage et l’attroupement d’une façon similaire.

The end of the 1950s was marked by the appearance of French cinema's New Wave (nouvelle vague). By introducing new production methods, themes, narrative modes, and forms, a surge of French creators became the leaders of a film revolution and achieved the change they envisaged at an international level. The nouvelle vague quickly crossed French borders. Through the distribution and exhibition of its films in commercial and alternative circuits in numerous countries, it exerted significant influence on filmmakers, cinematic movements, and motion picture industries worldwide. This essay 1 focuses-for the first time in film literature-on the distribution and exhibition of New Wave films in Greece from 1958 to 1974. Even though the movement typically ended in the 1960s, this study covers the period up to the end of Greece's seven-year dictatorship (1967-1974) due to the delayed arrival of several films to the country and major cultural, social, and political developments, which decisively affected the movement's reception. This essay is specifically concerned with issues such as the responses of distributors and other cinema professionals towards the New Wave, its impact on the public, and the channels (commercial cinemas, cinema clubs, and film festivals) through which spectators came into contact with it. The study traces the various meanings that the movement acquired in Greece over the years and within various frameworks, from a cinematic revolution driven by  young film directors and a model of art cinema to a provocative spectacle aimed at commercial exploitation.

Australian Journal of French Studies
Vol. XLVII No. 2 May–August 2010
In the 1970s Rivette consolidated the phase of experimentation announced in L’Amour fou (1969). Indeed it is also, paradoxically, the decade of what remains Rivette’s biggest commercial and popular success – Céline et Julie vont en bateau (1974). However, the period is also characterised by impasse. Of the five films he completed during this period, Out 1 (1970) only received one public screening, Merry Go Round, though completed in 1978, was not released until 1983, and
Noroît was not distributed theatrically. In particular, the abandonment of a planned tetralogy – of which Noroît (1976) would be part – must be considered in this context. “Les filles du feu” was the title of the tetralogy proposed to the Centre
National de Cinématographie (CNC) in 1975 [...]

Günümüzde internetin şeylerinin himayesi altında kimliksizleşen insan, giderek nesneleşmektedir ve bu bağlamda da imgeler dünyasındaki öznelliğini yitirir. Görünebilirliğini nesneler üzerinden tanımlayan öznenin, yeniden görülebilir hale gelebilmesi için imgeleri yeniden inşa etmesi gerekmektedir. Descartes “Optik” adlı çalışmasında yer verdiği beşinci söyleminde, dünyayı gören öznenin gözünün arka tarafına yerleşen imajdan bahseder. Bu doğrultuda, Descartes’ten sonraki birçok düşünür ve sanatçı için yeniden düşünülebilir hale gelen Camera Obscura üzerine yeni bir bakış getirir. Camera Obscura’da görselin küçük bir delikten girip, odanın ya da kutunun duvarına yansıdığı görüntüyü bir imgeye benzetir ve o imajı oluşturan deliğe ölen bir insanın ya da herhangi bir hayvanın gözünü koyarsak, gözün ön tarafında yer alan üç mercekten geçen görüntünün yeni, doğal bir perspektif oluşturacağını ortaya atar. Descartes’in bu söylemiyle birlikte göz, insan için bir aygıt olmaktan çıkıp, artık görüneni gören bir noktaya gelir; ilahlaşır. Descartes’in düşüncesinde bu nokta, Cogito kavramının kanıtıdır. Sonsuz Tanrı’nın bize sunduğu sonsuz dünya ile değişmeyen nesneler ve gören bir göz ile algılanan imgeler olmak üzere düşünce bu noktada ikiye ayrılır. Gözlemlenen dünya, Cogito’nun varlığında da, yokluğunda da kendi varlığını sürdürebilir. Aydınlanmacı batı felsefesinin ve hatta modern bilimin temelinin dayandığı, “görülen-gören” veya başka bir deyişle “özne-nesne” çatışmasının temeli bu düşüncedir. Descartes bağlamında ele aldığımız özne-nesne kavramı, Spinoza’nın Etika’sının ikinci bölümünde açıkladığı fikir ve beden kavramına göre beden fikirlerin fikirlerini oluşturabilen bir şeydir. Oluşan bu fikirlerimiz her an birbiriyle etkileşim halindedirler ve kendi başlarına varoluş gücüne sahip olduklarından dolayı kendi başlarına, bağımsız “şeyler”dirler.

This article will analyse how cinema can be used to challenge dominant representations of war by comparing two French coordinated portmanteau films, and examine the role of the film-makers as public intellectuals in France. Its starting point will be Chris Marker's Loin du Vietnam (Far From Vietnam, 1967), which was primarily about America's war in Vietnam. This film will be compared with Alain Brigand's 2002 film 11'0901 September 11 (known in French under the title 11 minutes 9 seconds 1 image), which uses the portmanteau format as a means of exploring representations of the 2001 World Trade Center attacks and the ensuing War on Terror. It will be shown that both works share several cinematic and political preoccupations, notably concerning the use of images in justifying and opposing war. It will be concluded that both films demonstrate how challenging representations of war can provoke a great deal of aesthetic as well as political debate on both sides of the Atlantic.

The aim of this workshop is to discuss the relevance of an intermedial approach to the study of world cinema. We bring together scholars working in different parts of the world who have been engaged in extensive researches in the past few years that fit under the umbrella defined by these keywords and who have produced exciting new books, along with several journal issues and articles (with more on the way). Through short individual reflections and a round-table style debate, we intend not only to showcase the major findings of these researchers by summarizing the results and highlighting the specific areas that they have covered, but also to dissect key issues that have emerged through their work.
The meeting is held via Zoom.
22 June 2021, from 14.00 to 19.00 EEST
Join Zoom Meeting: https://zoom.us/j/93388080652
Meeting ID: 933 8808 0652
We welcome anyone interested in meeting us and spending an afternoon talking about these topics. Participation is free. There is no need to pre-register.

"As perhaps the most studied film movement in cinematic history, the French New Wave has been analysed and criticised, romanticised and mythologised, raising the question of whether it is possible to write anything new about this period. Yet there are still gaps in the scholarship, and the study of music in New Wave films is one of the most striking.
Listening to the French New Wave offers the first detailed study of the music and composers of French New Wave cinema, arguing for the need to re-hear and thus reassess this important period in film history. Combining an ethnographic approach with textual and score-based analysis, the author challenges the idea of the New Wave as revolutionary in all its facets by revealing traditional approaches to music in many canonical New Wave films. However, musical innovation does have its place in the New Wave, particularly in the films of the marginalised Left Bank group. The author ultimately brings to light those few collaborations that engaged with the ideology of adopting contemporary music practices for a contemporary medium.
Drawing on archival material and interviews with New Wave composers, this book re-tells the story of the French New Wave from the perspective of its music."