After the end of the Second World War a group of filmmakers started writing Cahiers du Cinema criticizing traditional cinema. Studio films became known with the deprecative name ‘Cine du papa’. Filmmakers were finally able to engage with American cinema, which had been censored during the war. They developed a theory according to which films rely highly on directors. Therefore the director was (and still is- since this applies to contemporary cinema as well, keeping in mind the recognition enjoyed by directors in comparison to that of other crew members) considered the auteur of the film. Directors were supposed to create their own style, a signature. Directors who didn’t conform to this method were considered journeyman, who would only fulfill technical aspects.
In order to stand out French filmmakers create more creative products, playing with unique editing techniques. French New Wave films were characterized by jump cuts (in contrast with Classic Hollywood continuity editing), rapid reframing, long takes, breaking of the 180 degree rule and of the fourth wall. The latter was used to represent interior monologues. They used natural sound and light, hand held cameras and would shoot on location. Due to limited budget they would cast friends and family. They portrayed the lives of anti-heroes, alienated people who would often act immorally. These characters were flawed and ambiguous.
Some examples of French New Wave films are The 400 Blows (1959), Breathless (1960), My Life to Live (1962), Jules and Jim (1962) and A Band of Outsiders (1964).
Here is aFrench New Wave-inspired short film my classmates and I created The Flirt
Frame by Frame 