Kapitel: Nouvelle Vague, Französischer Film, La Fémis, Eine Gewisse Tendenz Im Französischen Film, Cinémathèque Française, Poetischer Realismus, Film D’art, Folimage. Aus Wikipedia. Nicht dargestellt. Auszug: The New Wave (French: ) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm and is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the famous film magazine Cahiers du cinéma. Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called the auteur theory. (The original French „La politique des auteurs“, translated literally, is „The policy of authors“.) Cahiers du cinéma writers critiqued the classic „Tradition of Quality“ style of French Cinema. Notable among these was François Truffaut in his manifesto-like article „Une Certaine tendance du cinéma française“. Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. Truffaut also credits the American director, Morris Engel and his film „Little Fugitive“ with helping to start the French New Wave, when he said „Our French New Wave would never have com…http://booksllc.net/?l=de