We have choosen to investigate about the piquetes because it is a very Argentine issue and throughtout this time there were lots of piquetes due to different social issues and have affected many people. Many argentine have strong opinions about this riots, and it should be intersting to hear them.
Our targert is the group of people who have ever been affected by piquetes. People who go to work every morning and sometimes can not acced to it because they are interrupted by a load of other men who complain about their jobs. Although these are the type of people we want to reach and will interview, we hope the documentary will speak to many other people as well, perhaps the people that cause the piquetes. With respect to technical equipment, we will need a handheld camara, possibly a tripod if we need to hold it still and a computer with proper editing software. We could make use of a digital camara to take pictures to insert in the documentary.
Our primary sources will be those people that not only take part in the piquetes, but those thar are affected by them. As secondary sources, we could interview people who have been indirectly affected by piquetes, such as people who were affected by those who were directly affected by riots.
The interviews will be conducted by Gaby Figueiras (me) while the questions will be composted by me with the help of Maria Figueiras. Tomas Christensen will be responsable for the actual filming and direction of the interviews. Maria Figueiras will be in charge of editing and lighting.
The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 filmWeek End). Also, these movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence.
Many of the French New Wave films were produced on tight budgets; often shot in a friend's apartment or yard, using the director's friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots).
In Jean Luc-Godard's À bout de souffle, after being told the film was too long and he must cut it down to one hour and a half, he decided to remove several scenes from the feature using jump cuts, as they were filmed in one long take.
The cinematic stylings of French New Wave brought a fresh look to cinema with improvised dialogue, rapid changes of scene, and shots that go beyond the common 180º axis.
But there is no better way of explaining this than by showing it. Here we have a clip of a scene from Godard's À bout de souffle.
Effects that now seem either trite or commonplace, such as a character stepping out of their role in order to address the audience directly, were radically innovative at the time. A clear example of this technique in a modern film was used by David Fincher in Fight Club (1999).
Modern examples of films that have been influenced by French New Wave are, among others,Annie Hall (Woody Allen, 1977), Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) and Pulp Fiction (Quentin Tarantino, 1994).
Here we can see a direct homage to French New Wave by Quentin Tarantino in Pulp Fiction
John Travolta (left) and Samuel L. Jackson (right) play two mob hitmen
in Quentin Tarantino's Pulp Fiction (1994).
in Quentin Tarantino's Pulp Fiction (1994).
Two hitmen on the job.
Another clear-cut example, this time with Eternal Sunshine of the Spotless Mind.
Kate Winslet and Jim Carrey kiss in Michel Gondry's highly
French New Wave influenced film Eternal Sunshine of the
Spotless Mind (2004).
French New Wave influenced film Eternal Sunshine of the
Spotless Mind (2004).
Jean-Paul Belmondo and Jean Seberg in Godard's masterpiece,
A bout de souffle (1960).
A bout de souffle (1960).
Our own interpretation of a French New Wave picture:
Outdoors and spontaneous, a typical feature of French New Wave pictures.
A very natural looking picture, similar to the
one below:
one below:
A real French New Wave picture.
French New Wave has significantly influenced the way cinema has progressed. We owe a lot to these smart and idealistic group of talented film-makers, who have helped shape what a film can accomplish.
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