The old cigarette gun is gone, there is no new wave in the world

If it is said that Bazan ignited the first filament species of the new wave, and Trifre turned it into a bear torch ——

The torch that always stood at the times, the torch and hoped to use it to evoke a larger pioneer warrior of the social and political revolution.

Fight

Godal was born with rebellion. When he was young, he had a clear relationship with a wealthy family. He did not accept the economic support at home. In order to escape the family, he simply brought a global trip.

This trip undoubtedly greatly pioneered Godal's vision, and after returning to Switzerland, he started to do some hard work, and during this period, he filmed his short film debut.

The active Godal quickly obsessed with film art, and became active elements in the Latin area in Paris. Since then, he has met Andre Bazan.

According to Barzan, Godal entered the editorial department of the "Movie Manual" and met several other editors -Francois Tride, Eric Humai and Jacques River.

Klord Lerus, Godal, Trifer, Louis Maller, Polishki

Under the influence of these good teachers and friends, Godal soon started writing film reviews -at this time, the pseudonym he used was Hans Lucas.

It didn't take long for Godal to carry the camera while paddling. In 1960, he filmed [exhausted], quickly shocked the world movie industry, and became one of the representative works of the new wave.

In this film about the boring and dying of the streets and death, Godal uses a large number of "jumping" techniques that destroy the consistency of the screen connection:

For example, a bus driving from left to right on the street will suddenly become inexplicable to drive from right to left; and in the chasing scene, the truck will suddenly disappear;

In the play of the male and female protagonists in the cafe, we will see the "beating" of the characters' movements. These are the results of jumping.

However, when the film critics were shocked by Godal's deliberate jumping technique for many years, Godal himself said:

Due to the limited budget, the budget was in a hurry to edit the film in the editing room, which caused this result -in any case, Ghodal objectively caused a huge impact on the concept of traditional movie concepts.

After the brief new wave movement, Godal, as always, maintains his creative characteristics.

In 1965, he launched [Madman Pierre], which inherited the chaos, loss and madness in [exhaustion].

Jean -Paul Bermonto then interpreted an inexplicable but cruel criminal image.

There is even no script during the filming, so it presents very strange aesthetic features -but this is the typical Godal brand.

It can be said that [exhaustion] and [Madman Pierrao] are the two most important works in Godal's early creation.

In 1968, the magnificent "May Storm" broke out in France, and Godal also quickly acted to support the activities of left students with actual actions.

He soon and his student leader Jean Pierre Gaulin formed a well -known film creation group, the "Wiltov Group" in the future.

The Wiltov group uses the famous Soviet director and the founder of the "Film Eyes" Jigga Wiltov as a spiritual idol. Its creative philosophy is "the problem is not to make political movies, but how to make movies politically."

Starting from the first 16mm film [a bland film] in 1968, to the last one in 1974 [Here and the other place], more than ten movies were filmed during the six years existing in the Valtov group. Essence

This has also become the most important period in Godal's creative practice -it was later known as the "combat movie" period.

[Here and the other place]

During this period, Godal's work was full of radical left political content, and he had a sharp criticism of the French social system at the time.

In the image style, there is no fear, so that most of the works in the Wiltov group are still obscure.

Godal also resolutely resist the production and distribution system of commercial films, and the ideological foundation behind it.

The Wiltov group advocated the spirit of "revolution". Members of the group went to the Czech Republic, Australia, Pakistan and other places to make films.

They held the camera and were radical into the local change practice, not just bystanders.

For example, in 1968, several members of the Vertov group led by Godlrum rushed to the stage during the Cannes Film Festival, pulled down the curtain, forcing the film festival to interrupt and eventually cancel it.

Cover structure

In 1979, the advent of [Escape] marked the end of the Goda "Battle Movie" period.

At this time, Godal even took the initiative to write a letter to the previous Evil Truff to seek reconciliation, but Triver was obviously hurt by Godal, and he rejected Godal's proposal.

Until Truffe died, he couldn't forgive Godal -presumably this is the eternal tangling in Godal's heart.

There are three protagonists in this film: prostitutes, professional women and TV directors, and all three are at the turning point of fate.

Godal showed tenderness in the film, and he even used the visual gorgeous upgrade lens, and opened the future front -line star Isabella Yupeer.

This film obviously has an excellent audience, and also marks the return of Godal to the mainstream film system.

However, Godal in [Escape] still has a strong shadow of the new wave -the separation of sound and painting, conscious flow lens, etc., which always allows us to see the looming anti -commercial temperament in Godal's bones.

In addition, [each escape] also has another obvious characteristic of Godal's works: the structure of the sleeve.

The layer structure of Godal's film is not only reflected in the same film, but it has become an unprecedented experiment of cross -film.

Especially from 1979 to 1983, Godal continuously shot several sets of movies.

For example, he filmed [each escape], and also filmed "[Escape] The script";

There are [Passion] Ap for the advent, and also filmed "[Passion] The script";

And when he edited a TV short film called "Records about the Movie [to Maria] two years after two years, a long film called [to Mary] was also moved to the big screen (here The film is starred by Juliet Binos).

In these sets of films, the long films and short films are derived from each other. They are intertwined with each other and reflect each other, showing a new look.

In fact, Godal's sleeves not only across movies, but even crossed the art form.

In 1974, he co -founded the "Sound Image Production Society" with Mali Mivil, and was in the case of experimental sound and image.

Since then, Godal has created a large number of multimedia works. In these works, sounds and images are two elements of each other with each other, and no longer respect some concepts from traditional movie theories-

Even if these works are a question itself, some people think that these works in Godal have completely exceeded the category of the film, but should be called "post -movie".

However, [each escape] should only be said to be the pioneer of Godal's return to the mainstream.

His body and mind re -investigated the embrace of the traditional film system, and the relationship between the new wave movement in full swing, and should be counted as [Fang Naming Carmen] in 1983.

The film that won the Golden Lion Award of the Venice Film Festival marks that Godal is widely recognized by the world's film industry, and the fame and fortune are doubled.

This film expresses Godal's "strong boredom" (famous film critic Baolin Kyle), but its attractiveness to the audience is very strong-

Of course, the story of the reborn "Carmen" was originally a classic of mouth. Godr's choice of this theme itself showed his compromise with the audience.

Postmodern journey

[Fang Ming Kamen] After, Godal, who came out of Sina, began his post -modern journey.

The old director first operated to religion. In 1985, [to Mary] was the story of the Virgin Mary, which is adapted from the mother and children in the Bible, but Godal put the background of the story in modern society.

This is a controversial movie that was fiercely protest when it was released around the world. Pope John Paul II and even officially announced that the film was "guilty."

This deconstruction was continued in [King Lear] in 1987 -as we all know, [King Lear] is a masterpiece of Shakespeare.

But Godal basically discarded the elements in the original, and filmed this film into a story that reflects his argument with the producer.

The film is full of various sound experiments, and some bizarre performances that make people unknown.

Godal even played himself in the film -a fool who took medicine.

This film once again shows the spirit of Godal's great restructuring of the classic text. If this film is used to compare with the Kurosawa version of [Laer] - [chaos], Ghodal's boldness in art is even more revealed undoubtedly.

Godal in his later years also started his own historical reflection, and the crystallization of this reflection was the giant system that took ten years, nearly five hours, and divided into eight parts- [movie history].

The film is called "Ghodal's life portrait" by the critics. It is the century that Godal has seen a lot of film language and shooting methods that have been seen in his life, loved, thoughtful, and ancient to the present. Masterpiece.

This is an unprecedented "super movie", which has caused great shocks around the world.

In the summer of 1999, [History of Film] began a "Canal+" on French TV, and a total of eight weeks aired each week. This broadcast event was called the biggest event in the European cultural community in the 1990s.

Entering the 21st century, Godal began to pay more attention to human destiny and emotions.

In 2001 [Love Research Institute] is known as Godal's "Love Research Report".

In 2004 [Our Music], Godal used the three chapters of "hell", "purgatory", and "heaven" to show the suffering of war to humans.

The main purpose of this film is Godal's thorough torture and criticism of the international order under the control of the United States hegemony, showing Godal's conscience as a social responsibility artist.

In the last ten years, Godal's creation volume has decreased sharply. Most of the time, he chose to play himself in his or other people's films. Through his personal perspective, he recorded and recalls the bit of related films and related filmmakers.

At the same age, people do not want to insist on creating something like "Dongmu", perform documentary, participate in a film festival, try a live broadcast, and do everything.

Because as a "living fossil" of the new wave, his existence itself is a great comfort, representing the conscience and immortal legend of the film.Now, the master has gone, and the new wave is completely over, and the free, critical, and diverse film era has finally come to an end.

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