ABDS CONDENSED FACT SHEET
Released in 1960, directed by Jean-Luc Godard
THE FRENCH NOUVELLE VAGUE CONTEXT
- Emerged in the late 1950s with a desire to reject traditional filmmaking
- There was a desire to revise audience expectations of film grammar
- 1954 essay by François Truffaut ‘Une Certaine Tendance du Cinéma Français’ where
wrote about what he wanted to reject in cinema
- The leaders were: Truffaut, Jean-Luc Godard, Eric Rohmer, Jaques Rivette, and Claude
Chabrol
THE FRENCH NOUVELLE VAGUE CHARACTERISTICS
- Jump cuts
- Long tracking shots
- Fragmented narrative structure
- Use of hand-held camera
- Improvised jazz score
- Dialogue spoken directly to the camera
- Frequent changes of pace and mood
- The use of real and recognisable locations
- Representations of youth and youthful preoccupations
- Reference to Americana
- Subversion of standard film grammar
FILM TECHNIQUES
- Jump Cuts When Michel drives through Paris, the cuts create a fragmented, restless
energy and emphasise the disjointed reality and rebellious spirit of the characters
- Hand-held camera Creates a documentary-like feel, allowed for dynamic shots
especially in Paris, adds to the realism and intimacy and fits with the film’s unpolished
aesthetic
- Natural lighting and sound Filmed on location using natural light and ambient sound
and dialogue overlaps rather than being meticulously controlled. Reinforces the
naturalistic, raw quality of the film
- Improvised dialogue Actors were given freedom to improvise, resulting in
spontaneous and more realistic interaction. Reflects the unpredictability of life, and the
unpolished nature of the characters
- Breaking the fourth wall Michel directly addresses the camera, challenging the
audience’s role as passive viewers. Creates a self-aware and reflective storytelling style
- Elliptical editing Scenes often end abruptly or start mid-action, omitting traditional
transitions. This keeps the pace brisk and mirrors the unpredictable, fleeting nature of
Michel’s life
- References to Film Noir Godard draws on Noir tropes (the antihero, femme fatale)
whilst simultaneously critiquing and reinterpreting them. This blurs the line between
homage and subversion, celebrating and questioning cinematic traditions
- Nonlinear narrative Story unfolds in an unstructured way, focusing more on mood
and character than the plot. It challenges traditional storytelling, a key theme of French
New Wave
- Panning shots When Patricia is being followed by a policeman, a panning shot shows
her, a policeman and then Michel. It feels comical - and like a criminal chase except
they are walking – because Michel is the one they are trying to catch, and he is behind
them.
- Ariel shots Used to emphasise the scale of Paris. When Patricia and Michel kiss
before parting ways at the beginning of the film. When Patricia is being followed, the
ariel shots moves away to focus on a procession and then when it comes back, we
cannot see them in the crowd.
OPENING SCENE
- Close-up shot Pin up girl on a newspaper - appeals to the youth and constructs
Michel’s character
- Establishing shot of Marseille Creates a sense of familiarity in the audience
- Tracking shots Him running to the car in Marseille, as the car drives past the camera,
his arm to the gun he is holding, as he runs away – shows the urgency and panic in his
actions, emphasises the speed he is driving, shows his desperation and feels comical at
times
, -POV shot Out the car window – we feel like we are driving with him in the car
-Hand-held camera Following Michel as he drives – creates a raw, spontaneous feel,
mimics documentary realism, immerses the audience in his chaotic world
- Breaking the fourth wall He looks directly at the camera and talks to the audience –
establishes a self-aware, rebellious tone, immersive feeling and invites viewers into his
perspective
- Rapid cuts Emphasises the speed he is travelling at, highlighting his urgency, we can
tell he is in a rush
- Elliptical editing Scenes transition abruptly, skipping over unnecessary details. Keeps
the narrative focused on key moments, mirroring the fast-paced, fragmented
storytelling.
- Jump cuts Breaks the continuity of the driving sequence, reflects Michel’s restless
nature and creates a sense of disorientation and urgency.
- Diegetic sound Singing and car engine noises blend naturally with the dialogue. It
maintains an authentic atmosphere, contrasting with the polished sound design typical
of earlier cinema.
- Silence Before he shoots the policeman, there is complete silence. This makes the
scene more impactful than it already is and we can sense the severity of his actions
- Improvised dialogue Michel’s speech appears spontaneous and unstructured, adding
to the naturalistic feel. This emphasises his carefree, impulsive personality
- Smoking Appeals to the younger generation and feels inauthentic, as though he is
playing a character
- Long straight road Shows the length of his journey and emphasises his urgency
- Pretending to shoot at cars He is playing a gangster and creating his own story for
his life
- On-location filming Takes place on the bustling streets of Marseille without controlled
studio setups. Highlights the French Nouvelle Vague’s break from studio-bound
filmmaking, capturing the authenticity of urban life
- American pop culture references Michel mimics Humphrey Bogart’s iconic gesture,
linking the French protagonist with American noir heroes. This establishes the
character’s fascination with American culture, while also critiquing it
- Dismissive of girl from Marseille Appeals to the newfound sexuality of the post-war
generation and shows his disregard for women.
CHAMPS ÉLYSÉE SCENE
- Tracking shot As they walk. We feel immersed in the action.
- Long takes Uninterrupted takes as Patricia sells newspapers. This enhances the
feeling of real-time progression, giving a sense of spontaneity and authenticity
- Hand-held cinematography Camera movement is shaky and unpolished, capturing
the bustling street life of Paris. It mimics a documentary style, reinforcing the film’s
raw, realistic aesthetic
- Jump cuts There are slight jump cuts, creating a fragmented, unpredictable rhythm.
This breaks the continuity deliberately, making the audience aware of the film’s
constructed nature
- No non-diegetic sound When Patricia and Michel talk, keeping the audience’s focus
on the conversation.
- Ambient sound The use of ambient sound, including street noise and snippets of
conversations, adds to the realism and avoids the artificiality of studio setups.
- Improvised dialogue Patricia’s interactions with people feel spontaneous, almost as if
the actors are unaware of the camera. This creates an unstructured, lifelike
atmosphere, typical of the French Nouvelle Vague.
- Hairstyle Patricia has a short haircut reminiscent of the trends of the time. This
makes her a more appealing character, as she seems more fashionable, which makes
her more likeable to the youth
- Behaviour She turns around quickly when she hears Michel’s voice. This allows us to
infer that she is pleased to see him, with an element of waiting for him. She is also
portrayed as laid-back and unforced, reflecting her character’s free-spirited attitude. It
emphasises the naturalism Godard sought, contrasting with the more dramatic
performances of classic cinema
- Movement Patricia and Michel walk in very close proximity to each other. This shows
their close relationship.
Released in 1960, directed by Jean-Luc Godard
THE FRENCH NOUVELLE VAGUE CONTEXT
- Emerged in the late 1950s with a desire to reject traditional filmmaking
- There was a desire to revise audience expectations of film grammar
- 1954 essay by François Truffaut ‘Une Certaine Tendance du Cinéma Français’ where
wrote about what he wanted to reject in cinema
- The leaders were: Truffaut, Jean-Luc Godard, Eric Rohmer, Jaques Rivette, and Claude
Chabrol
THE FRENCH NOUVELLE VAGUE CHARACTERISTICS
- Jump cuts
- Long tracking shots
- Fragmented narrative structure
- Use of hand-held camera
- Improvised jazz score
- Dialogue spoken directly to the camera
- Frequent changes of pace and mood
- The use of real and recognisable locations
- Representations of youth and youthful preoccupations
- Reference to Americana
- Subversion of standard film grammar
FILM TECHNIQUES
- Jump Cuts When Michel drives through Paris, the cuts create a fragmented, restless
energy and emphasise the disjointed reality and rebellious spirit of the characters
- Hand-held camera Creates a documentary-like feel, allowed for dynamic shots
especially in Paris, adds to the realism and intimacy and fits with the film’s unpolished
aesthetic
- Natural lighting and sound Filmed on location using natural light and ambient sound
and dialogue overlaps rather than being meticulously controlled. Reinforces the
naturalistic, raw quality of the film
- Improvised dialogue Actors were given freedom to improvise, resulting in
spontaneous and more realistic interaction. Reflects the unpredictability of life, and the
unpolished nature of the characters
- Breaking the fourth wall Michel directly addresses the camera, challenging the
audience’s role as passive viewers. Creates a self-aware and reflective storytelling style
- Elliptical editing Scenes often end abruptly or start mid-action, omitting traditional
transitions. This keeps the pace brisk and mirrors the unpredictable, fleeting nature of
Michel’s life
- References to Film Noir Godard draws on Noir tropes (the antihero, femme fatale)
whilst simultaneously critiquing and reinterpreting them. This blurs the line between
homage and subversion, celebrating and questioning cinematic traditions
- Nonlinear narrative Story unfolds in an unstructured way, focusing more on mood
and character than the plot. It challenges traditional storytelling, a key theme of French
New Wave
- Panning shots When Patricia is being followed by a policeman, a panning shot shows
her, a policeman and then Michel. It feels comical - and like a criminal chase except
they are walking – because Michel is the one they are trying to catch, and he is behind
them.
- Ariel shots Used to emphasise the scale of Paris. When Patricia and Michel kiss
before parting ways at the beginning of the film. When Patricia is being followed, the
ariel shots moves away to focus on a procession and then when it comes back, we
cannot see them in the crowd.
OPENING SCENE
- Close-up shot Pin up girl on a newspaper - appeals to the youth and constructs
Michel’s character
- Establishing shot of Marseille Creates a sense of familiarity in the audience
- Tracking shots Him running to the car in Marseille, as the car drives past the camera,
his arm to the gun he is holding, as he runs away – shows the urgency and panic in his
actions, emphasises the speed he is driving, shows his desperation and feels comical at
times
, -POV shot Out the car window – we feel like we are driving with him in the car
-Hand-held camera Following Michel as he drives – creates a raw, spontaneous feel,
mimics documentary realism, immerses the audience in his chaotic world
- Breaking the fourth wall He looks directly at the camera and talks to the audience –
establishes a self-aware, rebellious tone, immersive feeling and invites viewers into his
perspective
- Rapid cuts Emphasises the speed he is travelling at, highlighting his urgency, we can
tell he is in a rush
- Elliptical editing Scenes transition abruptly, skipping over unnecessary details. Keeps
the narrative focused on key moments, mirroring the fast-paced, fragmented
storytelling.
- Jump cuts Breaks the continuity of the driving sequence, reflects Michel’s restless
nature and creates a sense of disorientation and urgency.
- Diegetic sound Singing and car engine noises blend naturally with the dialogue. It
maintains an authentic atmosphere, contrasting with the polished sound design typical
of earlier cinema.
- Silence Before he shoots the policeman, there is complete silence. This makes the
scene more impactful than it already is and we can sense the severity of his actions
- Improvised dialogue Michel’s speech appears spontaneous and unstructured, adding
to the naturalistic feel. This emphasises his carefree, impulsive personality
- Smoking Appeals to the younger generation and feels inauthentic, as though he is
playing a character
- Long straight road Shows the length of his journey and emphasises his urgency
- Pretending to shoot at cars He is playing a gangster and creating his own story for
his life
- On-location filming Takes place on the bustling streets of Marseille without controlled
studio setups. Highlights the French Nouvelle Vague’s break from studio-bound
filmmaking, capturing the authenticity of urban life
- American pop culture references Michel mimics Humphrey Bogart’s iconic gesture,
linking the French protagonist with American noir heroes. This establishes the
character’s fascination with American culture, while also critiquing it
- Dismissive of girl from Marseille Appeals to the newfound sexuality of the post-war
generation and shows his disregard for women.
CHAMPS ÉLYSÉE SCENE
- Tracking shot As they walk. We feel immersed in the action.
- Long takes Uninterrupted takes as Patricia sells newspapers. This enhances the
feeling of real-time progression, giving a sense of spontaneity and authenticity
- Hand-held cinematography Camera movement is shaky and unpolished, capturing
the bustling street life of Paris. It mimics a documentary style, reinforcing the film’s
raw, realistic aesthetic
- Jump cuts There are slight jump cuts, creating a fragmented, unpredictable rhythm.
This breaks the continuity deliberately, making the audience aware of the film’s
constructed nature
- No non-diegetic sound When Patricia and Michel talk, keeping the audience’s focus
on the conversation.
- Ambient sound The use of ambient sound, including street noise and snippets of
conversations, adds to the realism and avoids the artificiality of studio setups.
- Improvised dialogue Patricia’s interactions with people feel spontaneous, almost as if
the actors are unaware of the camera. This creates an unstructured, lifelike
atmosphere, typical of the French Nouvelle Vague.
- Hairstyle Patricia has a short haircut reminiscent of the trends of the time. This
makes her a more appealing character, as she seems more fashionable, which makes
her more likeable to the youth
- Behaviour She turns around quickly when she hears Michel’s voice. This allows us to
infer that she is pleased to see him, with an element of waiting for him. She is also
portrayed as laid-back and unforced, reflecting her character’s free-spirited attitude. It
emphasises the naturalism Godard sought, contrasting with the more dramatic
performances of classic cinema
- Movement Patricia and Michel walk in very close proximity to each other. This shows
their close relationship.
