'La Nouvelle Vague, elle t'emm---!' Louis Malle, Zazie dans le métro and the French New Wave.
Zazie dans le métro (1960) appears as a quintessentially New Wave film with its youthful protagonist, its location shooting and its many references to cultural history. In addition, the self-conscious play with film technique in Zazie can be seen as a way of exploring the formal specificities of cin...
| Publicado en: | Modern & Contemporary France Vol. 27; no. 4; pp. 493 - 504 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Nov2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=138667248&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 138667248 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 09639489 55N jtl: Modern & Contemporary France issn: 09639489 maglogo: N pubinfo: dt: Nov2019 vid: 27 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 138667248 10.1080/09639489.2019.1645650 ppf: 493 ppct: 11 formats: fmt: – @attributes: type: T db: hlh ui: 138667248 – @attributes: type: P db: hlh ui: 138667248 tig: atl: 'La Nouvelle Vague, elle t'emm---!' Louis Malle, Zazie dans le métro and the French New Wave. aug: au: Morrey, Douglas affil: School of Modern Languages and Cultures, University of Warwick, Coventry, United Kingdom of Great Britain and Northern Ireland su: Queneau, Raymond Malle, Louis, 1932-1995 Cultural history Social change New wave films sug: subj: Cultural history Social change New wave films Queneau, Raymond Malle, Louis, 1932-1995 ab: Zazie dans le métro (1960) appears as a quintessentially New Wave film with its youthful protagonist, its location shooting and its many references to cultural history. In addition, the self-conscious play with film technique in Zazie can be seen as a way of exploring the formal specificities of cinema. The film's deployment of popular genre equates to Raymond Queneau's use of demotic register and director Louis Malle takes a ludic approach to film grammar (as Queneau does to French grammar) in order to confuse or elide space and time. Yet the film did not meet with the success of other New Wave films and has not been canonized in the same way. This article suggests one explanation may be the comparative lack of indexical connection to a society in a period of acute social change. Indeed, the film challenges the very concept of indexicality through its proliferation of copies and eerie visual jokes about sameness. Zazie dans le métro is a self-contained circuit that seems, at times, almost to mock the New Wave itself. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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