![]() ![]() This politique is characterized by a profound dissatisfaction with their era, the Americanization of French society, France’s involvement in Algeria, and a reticence about the impending sexual liberation movement. ![]() Primarily, I show that while the New Wave borrows extensively from Hollywood aesthetics, its manipulation and subversion of American film noir conventions are also at the very heart of the politique des auteurs. I also draw a number of important conclusions. I show how the two cinemas cross-pollinate, especially given that the French polar itself exerted influence on Hollywood film noir and that French critics were among the first to identify the new tendency towards making film noir in postwar Hollywood. I therefore embark on a comparative study that considers in great detail the New Wave’s reprisal and adaptation of the film noir format, with my analyses focused not only on character and plot conventions, but also on the tropes, aesthetics and filmmaking production techniques common to both cinemas. 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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