nema of spectacle. It rejects both mannerism and naturalism and asserts that in mannerist films, an unrestricted formalism presides in which a knowledge of cinema is systematically interspersed with and blended with the act of representation. Reworking older forms, said Douchet (1998), should serve to filter the world and to explicate the reality of an epoch. Central to the concept of the French New Wave aesthetic is the rejection of the tired clichés of cinema verite.
The French New Wave emerged in the 1950s through the work of a corps of articulate young filmmakers including Francois Truffaut, Jean Luc Godard, and Claude Chabrol (Strozykowski, 2008). The New Wave filmmakers rebelled against traditional French cinema which they believed had become false and dependent on a contrived world of studio sets. While Realism was a major influence on the New Wave, the idea of Realism that they promoted was tied up with the use of real locations, improvised scripts, natural lighting, and handheld cameras which enabled spontaneous filming.
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