Genre cinema subsequently remained a preoccupation for the New Wave auteurs, who made no fewer than fifty gangster and crime films between 19, including many of the New Wave’s most iconic films. It is, after all, a matter of record that Hollywood’s cheaply-made B-movies were championed by the critics of Cahiers du cinéma as permitting authorial self-expression and as encouraging cinematic innovation and evolution. Initially, I ask if this relationship is not the principle identifying criterion of New Wave cinema. This dissertation develops a comprehensive study of the influence exerted by Hollywood “genre” cinema, in particular the B-series film noir, on the French New Wave.
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