“Cinema was becoming more real”

From the French New Wave to the Vertical Screen Aesthetics of Mobile Short Video

Authors

DOI:

https://doi.org/10.15448/1980-3729.2023.1.44854

Keywords:

french new wave film, vertical screen, narrative aesthetics

Abstract

This study examines the historical legitimacy, aesthetic potential and limitations of the vertical screen image through two dimensions: cross media comparison of the New Wave of French cinema and the creative practice of thevertical screen image in the complex new media environment of today. This studyfollows the principle of unity between history and logic to explore in detail theinfluence and inspiration of the narrative aesthetics of French New Wave films on the creation of short videos in the vertical screen era, starting from the four dimensions of “telling” and “showing”, as well as narrative time and narrative space. Through the media archaeology of film history, it is easy to find that many features of short video creation coincide with the creative concept advocated by the French New Wave.

Downloads

Download data is not yet available.

Author Biography

Ruomu Miao, Shanghai Jiao Tong University (SJTU), Shanghai, Chine.

Master of Arts in Film Studies from the China Film Art Research Centre (China Film Archive), Beijing, China. Bachelor of Arts in Letters from Chongqing University, Chongqing, China, with a scholarship from the Chinese government. Ph.D. candidate in Journalism and Communication at the School of Media and Communication, Shanghai Jiaotong University, Shanghai, China, with a scholarship from the Chinese government

References

BAZIN, A. An Interview with Jacques Tati, with the Participation of Francois Truffaut. Translated by Bert Cardullo. Quarterly Review of Film and Video, [S. l.], n. 12, p. 4-10, 2002.

BAZIN, A. What’s the Cinema? Los Angelos: University of California Press, 2004.

BELLAH, R. N. Habits of the Heart: Individualism and Commitment in American Life. [S. l.]: 1st Perennial Library ed.: Harper & Row, 1986.

BLUMER, H. Symbolic Interactionism: Perspective and Method. Englewood Cliffs (NJ): Prentice-Hall, 1969.

BRANSTON, G. Cinema and Cultural Modernity. Beijing: Beijing University Press, 2006.

FRIEDBERG, A. Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1933.

GIROUD, F. La nouvelle vague portraits de la jeunesse. Paris: Gallimard, 1959.

GRAINGE, P. Ephemeral Media Transitory Screen Culture from Television to YouTube. Houndmills (England): Palgrave Macmillan, 2019.

HOPEWELL, J. French Aid Law Finally Signed. Variety, [S. l.], v. 959, n. 6, p. 65, 1959.

HOW Do Mobile Video Viewers Hold Their Phone? In: Scientiamobile. [S. l.], May 5, 2019. Available at: https://www.scientiamobile.com/how-do-mobilevideo-viewers-hold-their-phone. Accessed on: May 10, 2022.

JACQUES, E. The Technological Society. Toronto: Knopf Canada, 1964.

JENKINS, H.; THORBURN, D. (ed.). Rethinking Media Change: The Aesthetics of Transition. Massachusetts: MIT Press, 2003. DOI: https://doi.org/10.7551/mitpress/5930.001.0001

JOHN-STEINER, V. Notebooks of the Mind: Explorations of Thinking. New York: Oxford University Press, 1997.

MONACO, J. The New Waves. New York: Oxford University Press, 1977.

NIELSEN, J. The 90-9-1 Rule for Participation Inequality in Social Media and Online Communities. In: Nielsen Norman Group, [S. l.], Oct. 8, 2006. Available at: https://www.nngroup.com/articles/participation-inequality. Accessed on: Dec. 25, 2022.

ROSS, M.; GLEN, M. Vertical Cinema: New digital possibilities. Rhizomes, [S. l.], v. 26, 2014. Available at: http://www.rhizomes.net/issue26/ross_glen.html. Accessed on: May 17, 2022.

SLADE-SILOVIC, O. Horizontal VS Vertical Videos: Which Video Format Should I Use? In: Covieo. [S. l.], Sep 18, 2018. Available at: https://www.covideo.com/horizontal-vs-vertical-videos. Accessed on: May 10, 2022.

STEWART, S. Poetry and the Fate of the Senses. ComparativeLiterature, [S. l.], v. 56, n. 3, p. 269-274, 2004. DOI: https://doi.org/10.1215/-56-3-269

WILLIAMS, A. Republic of Images: A History of French Filmmaking lM. Rhode Island (USA): Harvard University Press, 1992.

Downloads

Published

2023-10-11

How to Cite

Miao, R. (2023). “Cinema was becoming more real”: From the French New Wave to the Vertical Screen Aesthetics of Mobile Short Video. Revista FAMECOS, 30(1), e44854. https://doi.org/10.15448/1980-3729.2023.1.44854

Issue

Vol. 30 No. 1 (2023): Single Volume

Section

DOSSIER: French Cinematography: from the Lumières & Méliès to VR & AI

License

Copyright (c) 2023 Revista FAMECOS

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright

The submission of originals to Revista Famecos implies the transfer by the authors of the right for publication. Authors retain copyright and grant the journal right of first publication. If the authors wish to include the same data into another publication, they must cite Revista Famecos as the site of original publication.

Creative Commons License

Except where otherwise specified, material published in this journal is licensed under a Creative Commons Attribution 4.0 International license, which allows unrestricted use, distribution and reproduction in any medium, provided the original publication is correctly cited.