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Improvisation and Social Aesthetics

Improvisation, Community, and Social Practice

Improvisation and Social Aesthetics

Edited by

Duke University Press

DOI:

https://doi.org/10.1215/9780822374015

Copyright:

This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved.

ISBN electronic:

978-0-8223-7401-5

Publication date:

2017

Book Chapter

Improvisation in New Wave Cinema: Beneath the Myth, the Social

By

Marion Froger

Search for other works by this author on:

Google

Doi:

https://doi.org/10.1215/9780822374015-011

Published:

March 2017

The cinema of the French Nouvelle Vague (New Wave) brought, as one of its perceived radical innovations, an emphasis on improvisation at the levels both of acting and of filmmaking itself. Improvisation was one means by which this cinema differentiated itself from an earlier tradition of French filmmaking that was marked by a reliance on scripts and a polished, professional practice of making films. Embraced for its freshness, this turn to improvisatory filmmaking nevertheless raised a set of social, political, and aesthetic issues that inflected the reception of the Nouvelle Vague. A turn to improvisation was seen as a rejection of the professional craft tradition of the French film industry and its unions. It was received, in critical quarters, as a filmmaking practice marked by “in jokes” and the representation of intimate relationships between improvising performers from which audiences were excluded. The fractured responses to these aspects of the Nouvelle Vague’s improvisatory tendencies were symptoms of the complex political and generational divisions that were running through French society in the early 1960s.

Nouvelle Vague, New Wave, improvisation, acting, intimacy

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