Notesreferences

1. Just as Anderson, Reisz and Richardson railed against the British film establishment during this period, Truffaut, Godard, and Chabrol were critical of Claude Autant-Lara, Rene Clement, and the other established directors of the French film industry.

2. Mise-en-scene, or the long take, meant moving the camera to record the action rather than ordering the action by fragmenting and editing the sequence.

3. The personalized reference in this prologue is typical of the New Wave. One of the moving shots travels by the Cinémathèque, and the Eiffel Tower is in the background.

4. The jarring effect of the jump cut is softened in this sequence with dissolves.

5. The worldwide influence of the New Wave can be seen in the film movements of the last 30 years. It can be seen in the Czech New Wave, the work of Milos Forman and Jiri Menzel. It can be seen in Yugoslav film, particularly in the work of Dusan Makavejev. It can be seen in the work of Glauber Rocha in Brazil and in the work of Fernando Solanas in Argentina. The New Wave also influenced the work of Pier Paolo Pasolini and the Taviani brothers in Italy. In the United States, Arthur Penn and Mike Nichols were strongly encouraged to experiment by the success of the New Wave.

6. There is an excellent account of Godard's editing style in Karel Reisz and Gavin Millar, The Technique of Film Editing (Boston: Focal Press, 1968), 345-358.

7. Seymour Chatman, Antonioni, or the Surface of the World (Berkeley: University of California Press, 1985), 2.

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