Cinematic New Waves

• New Waves

French (1958 – 1964):

 

Les Amants (Malle, 1958)

400 Blows (Truffaut, 1959)

Breathless (Godard, 1960)

Paris Nous Appartient (Rivette, 1960)

Les Bonnes Femmes (Chabrol, 1960)

Shoot the Pianist (Truffaut, 1961)

Une Femme est Une Femme (Godard, 1961)

Cleo from 5 to 7 (Varda, 1962)

Czech (1963 – 1968):

Daisies (Chytilova, 1966)

Full Film

Closely Observed Trains (Menzel, 1966),

The Party and the Guests (Nemec, 1966)

The Firemen’s Ball (Forman, 1967)

The Ear (Kachyna, 1969)

German (1970 – 1979)

The Goalkeeper’s Fear of the Penalty (Wenders, 1973)

Fear Eats the Soul (Fassbinder, 1974)

Full Film

Alice in the Cities (Wenders, 1974)

The Lost Honour of Katherina Blum (Schlöndorff, 1975)

Heart of Glass (Herzog, 1976)

Germany in Autumn (various, 1978)

Thai / Korean / Hong Kong (1995 – 2005)

Chungking Express (Wong Kar Wai, Hong Kong,1995)

Tears of the Black Tiger (Sartsanatieng, Thailand, 2000)

Blissfully Yours (Weerasethakul, Thailand, 2002)

Oldboy (Park Chan-wook, 2003)

Spring, Summer, Autumn, Winter …..and Spring (Kim Ki-duk, 2003)

Tropical Malady (Weerasethakul, Thailand, 2004)

2046 (Wong Kar Wai, Hong Kong, 2005)

Chocolate (Pinkiew, 2008)

This topic focuses on the characteristics of a film style which may have originated in a particular national cinema as a ‘movement’ and which subsequently has had trans-national significance. It is possible to focus on the initial moment, such as German Expressionism or Soviet Montage in the 1920s or Italian Neo-Realism in the 1940s or the French New Wave in the 1960s in two principal films, with the expectation that the candidate will have some awareness of the adaptation of the style elsewhere in at least one further film. A different approach would be to look at parallel developments – such as the emergence of different kinds of ‘expressive’ cinema in the 1920s in Germany and the USSR or different ‘new waves’ in different national contexts.

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