New Wave conclusion

J'ai besoin de faire partager mes journees de travail... Alors apres l'introduction africaine voici la conclusion francaise...

It is interesting to analyse the women image in the masculine directors’ work because we can see that the female figures teeter between the women emancipation and the romantic and misogynist phantasms of their author (Sellier, 1999: 1). Even if the ‘band of brothers’ want to peel off the cinema de papa point of view, they still use the masculine gaze as the central one. For that, the woman is nothing more than a mystery; the ‘Other’. Usually treated as an object (fetishism of the body, passive attitude, references to the 1940s society’s rules), the women see their image revolutionized thanks to a young lady: Brigitte Bardot. The child-woman, through her acting in Vadim’s Et Dieu créa la femme, changes forever the woman’s representation on screen. Proud of her body, dictated by her desires, she defines the French women desire of emancipation. However, her attitude, from a masculine point-of-view, is seen as dangerous; she weakens their supremacy and virility. From this is born the idea of femme fatale, regularly used in the New Wave movies to show that women are objectively fatal for the hero when they are in love with him (Sellier, 1999: 4). The femme fatale is a dominant image in the French New Wave but she is not the only one; Chabrol, Truffaut, Godard, Rivette, Rohmer were unable to do not represent the other representations of the women in 1950s and 1960s French society. The American influences were there, for sure, but the youth of the New Wave tried to represent the young ladies of the 1960s with all their contradictions; from the simple bonne femme, to the mysterious femme fatale…

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