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The film makers made France to experience a massive revolution in the film industry. As a result, they acquired the name “French New Wave” (Betz 2009, p. 136). Before the changes in the film industry, all the French movies were shot in studios. In the traditional films, Paris was presented in reconstructive and conservative way. Many scenes that were captured before and during the war could not be adapted to the screen. The situation was becoming less attractive to the new generation of filmmakers. Consequently, they gathered at the editorial room where they all agreed that the traditional films in French were very artificial. They decided to divert from the filming strategies that were influenced by the preferred aesthetics during that period (Shortcuts 2011, p. 75). Among the factors that motivated the film makers to introduce the new changes in cinema was the fast evolving technology in Paris and the improved financial system. The film makers from Paris made film making more flexible with the new technology. For instance, in the traditional French film industry scenes could only be shot during the day. In addition, the outdoor scenes were not very clear. However, with the new technology, scenes could be captured even at night. Outdoor shoots also became clear because of the use of the new lightweight cameras. Among the first film makers to use the new technologies introduced in the film industry was Louiss Malle in the year 1958. His film was followed by other experimental films which aimed at capturing the real life events in the city. This resulted into a shift from artificial films to films that gave a realistic impression of the city. For instance, the scenes captured in the films seemed real and not highly dramatized like those in the traditional ones (Neupert 2007, p. 356).
Paris also played a great role in the new wave because all the film critics
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The term new-wave refers to a French movement in the 1950s and 1960s, a term coined by critics of the movement. The movement was also linked to a number of social and political changes of the era, these often being incorporated in the cinematography and direction of French new-wave. As a result, a number of the films that can be classified as part of the movement often change many of the elements that had previously been considered necessary for film-making (Neupert, 2007).
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