Hard to say when the French New Wave ended. Eric Rohmer is often considered part of the movement, and My Night at Maud’s didn’t come out until 1969. I like to think Jacques Rivette’s Celine and Julie Go Boating (1974) signifies an end to the movement. After that Chantal Akerman burst onto the scene with Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), which is less a New Wave film, and more a perfect distillation of slow cinema. What’s more, French film after this point took a sort of downturn, with Rohmer and Bresson churning out an occasional masterpiece, and Resnais throwing in one or two just for good measure (personally, I’m not the biggest fan of Godard during this period, aside from 1982’s Passion). France’s cinema du look then became the thing during the eighties, and into the nineties.
Yes, maybe Celine and Julie is the end of the new wave. I know some would say earlier, but Rohmer made Love in the Afternoon in 72, Truffaut did some of his best films in the early 70s and so on. The Mother and the Whore is maybe a post-new wave film, because of it’s theme and that the director started out later.
Zvelf: There are tons of other movements, like New Phillipine Cinema of the 70s, Senegalese cinema of the same period, plus Cinema Novo in Brazil is without doubt a movement, with Glauber Rocha as it’s leader. That’s maybe a good discussion, who are the leaders of the different movements? I remember David Thomson saying about PTA “he is now clearly the leader of his generation”, and that got stuck with me for some reason.
There are also something like India’s so called parallel cinema, which has no clear time frame.
The problem I have with Losey is that he’s a transplanted American. I mean if you included him, would you include Kubrick?
Do you think of Terry Gilliam as an American film maker? I know he is a Yank, but most of his movies seem to me essentially British films in terms of cast, finance and style.
I once got into an argument at a party when a fatuous idiot claimed that “Un Divan a New York” was a Belgian movie because Chantal Akerman was Belgian.
Never mind setting, studio or intended audience.
Cuban Cinema directly following the revolution. Maybe Third Cinema in a general sense.
Dogme 95 produced more consistent results than most other movements.
I was partial to Warhol’s brand of cinema, not sure what movement that falls under
Mubiuser, I listed Cinema Novo and Rocha.
Nobody’s mentioned cinema du look.
Also, perhaps one could view The Seventh Seal and Fanny & Alexander as the bookends of the unofficially categorized ‘European art-house’ movement/era.
@MARS IN ARIES, well more or less.
And then, as a Swede, I think the Golden age of Swedish Cinema (ca 1916-1924, Victor Sjöström, Mauritz Stiller and so on) is considered a movement? At least among film academics in Sweden, haha.