If you are a film industry practitioner or film lover, the famous "New Wave Movement" in film history must be familiar.
The style of the "New Wave" (also known as the "Film Manual School" and "Author's Film") is mostly to record or represent an event or some characters in a focused way. Therefore, there is a strong documentary, and many films have a strong personal biographical color.
Godard, one of the founders of French New Wave cinema, said: "The sincerity of the New Wave is that it is a good representation of the life and things it is familiar with, rather than a turtle-footed expression of things it does not understand."
<h1>What is the New Wave movement</h1>
At the end of the 1950s, under the powerful impact of Hollywood and the huge impact of the rise of television, French cinema struggled, and the traditional production model was threatened and shaken.
In 1958, a number of relatively new films such as Claude Chabrol's "Pretty Selch" and Jean-Rouss's "I The Negro" appeared on the big screen in France, and Françoise Giroud, a columnist for the weekly Magazine Express, used the term "New Wave" for the first time.
In 1959, François Truffaut's Four Hundred Blows won the Best Director Award at the Cannes Film Festival, and since then, the New Wave movement has begun its revolutionary movement around the world.
New Wave films oppose the production mode and narrative method of traditional films, requiring films to return to film, and film directors should use the camera as a novelist's pen like a novelist, not subject to the script and the adapted novel, nor subject to the restrictions of the business model of the film company, shooting works with a personal style. It often combines screenwriters, directors, dialogue, music, and even producers to form a unified production method.
In general, New Wave directors oppose the style of on-set films, despise the exquisite and conformist appearance of traditional films, and advocate personalized, casual, flexible, improvised and natural creative styles.
The New Wave boldly challenged the audience's established viewing habits, such as: the colloquialism of dialogue, the improvisation and life of performance, breaking the "fourth gambling wall", opposing the traditional stitching system, and the fractured illogical plot, etc., forming a whimsical and innovative creative concept.
This movement has left a valuable film cultural heritage for France and even the world, and its influence has spread to many countries, such as the new German films in the 60s, the new films in the United States, the new films in Brazil, etc., and even the fifth generation of Chinese films in the late 1980s also stepped on the aftermath of the French New Wave to the international film world.
<h1>New Wave of British Cinema</h1>
In the mid-1950s, the younger generation of filmmakers in the UK also began to explore new film languages. Similar to the French New Wave, the British New Wave also began with Hollywood blockbusters against flashy romance.
Tony Richardson, Lindsay Anderson and Ken Loach all made their masterpieces during this period.
These films are often attributed to "kitchen-sink realism," a concept derived from fiction and taken shape in Britain. Just by looking at the names, the story takes place in the kitchen, a place of daily trivia, where trivial realities are removed from the fig leaf, cheap and crowded apartments in London's working quarters take to the stage, and chaotic and dirty kitchens stage real life outside the theater.
These films create the dark side of everyday life, portray those who are tenacious, and give birth to the character of the so-called "angry young men"—a term that runs through the New Wave movement.
To some extent, these two words also set a cultural paradigm for the subsequent "New Wave" - with confused and angry young people in the transition era as the protagonists, focusing on the truth, cruelty and poetry of daily life. This is true of the French New Wave of "free cinema", and the "Taiwan New Wave" of Yang Dechang more than two decades later.
So those who have a heart may have noticed that, in fact, the British New Wave was three or two years earlier than the French New Wave, so the kitchen sink realist film also has a very different flavor from the French New Wave.
Britain's New Wave movement was more or less ignored in the United States than in other countries, but it was nothing less than a revolution for British filmmakers.
In the late '40s, lindsay Anderson, the editor of Sequence magazine in Oxford, was the first to criticize British cinema as too backward, with the same "level of anger" as Truffaut's "New Wave Manifesto" seven years later, "On a Certain Trend in French Cinema."
Sequence was discontinued after only fourteen issues, but these young people who "hated" Hollywood, such as Lindsay Anderson and Karel Reez, also "abandoned their pens and shadows" like Truffaut and began to make their own films.
Their footage, they say, is meant to unearth those "poetic meanings of ordinary life." Anderson said that filmmaking should be as free as writing poetry, painting, and composing music. He named the practice of cinematic innovation that began in London the "Free Film Movement".
A declaration of the free film movement signed by directors such as Lindsay Anderson
Lindsay Anderson is widely regarded as one of the pioneers of the New Wave of British cinema, who has said that cinema has become a fixed model of "snobbish, anti-intellectual, and repressive emotions", which fortunately changed the British New Wave.
Lindsay Anderson's "If" is one of the masterpieces of the New Wave, and this successful film won him the Palme d'Or that year. In the film, the rebellious Mick Travis (Malcolm McDowell) enters a boys' boarding school, and he hates the school's tyranny, which sets off a revolution. The film was controversial at the time, echoing the violent protests of the 60s.
In 1959, the screenplay for "A Look back on Rage" was brought to the big screen by Tony Richardson, becoming the first feature film of the "Free Film Movement". Since then, the "Free Film Movement" has gradually attracted more widespread attention.
Karel Reitz made "Prodigal Son Spring Tide", depicting the prodigal son life of an "angry youth" in the lower class; Tony Richardson's "Taste of Honey" is a young girl who is also in the lower society, winning the cannes film emperor and film queen double awards that year; and Lindsay Anderson's "So Athletic Career", which combines "anger" into a hopeless love across classes, received Oscar and Cannes nominations.
Going to the UK to study film is the dream of countless people, in July, the new studio academy will join hands with the British Film Institute (BFI), London Manufacturing Company, and Qingdao Oriental Film Capital, the training place, to introduce the ace filmmaker training program to the Chinese mainland for the first time, and open the BFI China Young Filmmaker Training Program!
<h1>What you will get :</h1>
Two weeks of practical training courses in London + two weeks of field shooting in Qingdao. BFI completed the Ace Film Course at its London headquarters, and the Filming Location of The Wandering Earth produced an independent sci-fi short film.
Each trainee will receive an official BFI certificate; they will also receive a letter of recommendation from a British film master, and the outstanding trainees can be recommended to study at the top british film schools or join a well-known film company.
Each participant takes on a position in the course, writing and directing a short science fiction film of about ten minutes, with the BFI logo.
The finished film will be screened at the London Film Festival as the result of Sino-British cultural exchanges.
BFI China Young Filmmaker Training Program opened! Build your own sci-fi short film - a new set