Overview

In the late 1950s and early 1960s French New Wave cinema exploded onto international screens with films like Les quatre cents coups, A bout de souffle and Jules et Jim. They were radical, artistic, original and most importantly set up the director as a creative genius; at the forefront were Francois Truffaut and Jean-Luc Godard. Today these films are credited with changing cinema forever. For many film goers they command strong and passionate respect and became the foundations on which a lifetime of cinema-going is built. In the photographs of Raymond Cauchetier we bear witness to the great artistic genius that was central to the process of making these films. Cauchetier's photographs are a culturally important documentary of the director at work, his methods and processes. His photographs capture some of the most memorable moments in film; Jean-Paul Belmondo and Jean Seberg on the Champs Elysees in A bout de souffle, Jean Moreau in the race scene of Jules et Jim, Anna Karina in a Parisian Cafe in Une femme est une femme. But Cauchetier's genius lies also in the fact that his photographs are far above just a visual record of these films. They clearly show the same spirit, the same freedom and the same originality that made The New Wave so important. Cauchetier's photographs are as much a part of The New Wave as the films themselves. In the words of Richard Brody: In these images, Raymond Cauchetier, a witness to art, made art by bearing true witness. This is the first book published in English featuring the New Wave film photographs of Raymond Cauchetier. SELLING POINTS: . Featuring arguably the greatest images of the French New Wave cinema; many images have never been seen before . First ever monograph in English devoted to the film photography of Raymond Cauchetier . Foreword by Philippe Garner; text by Raymond Cauchetier 160 b/w

Full Product Details

9781851497911

Table of Contents

Reviews

"Intriguingly, many of Cauchetier's most famous pictures epitomising the new wave, weren't actually in the films themselves. One day shooting Breathless on the Champs-Elysees, so many onlookers gathered that Cauchetier couldn't get close. He asked Belmondo and Seberg to come for a quick walk down a quieter stretch of the avenue away from the crowds, getting his famous shot of them ambling along chatting. ""You can see the happiness in it,"" he says. The same was true of his classic picture of Seberg kissing Belmondo on the cheek. ""That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building. You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds. -- Angelique Chrisafis The Guardian, June 3, 2015 Cauchetier's skill sethe was both a high-wire documentarian and, in effect, a director of fictionsuniquely qualified him to share in the multifarious spirit of the New Wave. -- Richard Brody The New Yorker, June 1, 2015 ...his on-set photographs...helped not only document, but define a dazzlingly stylish and technically revolutionary movement... -- Marley Brown Vanity Fair, June 3, 2015 [Cauchetier] spent the Sixties taking photographs that revealed the radical methods of cinema's avant-garde and documenting some of the most enduring moments ever seen on the silver screen. -- Peter Yeung The Telegraph, June 18, 2015 But no survivor of the Nouvelle Vague"" has the longevity of its best known photographe de plateau"" (set still photographer) Raymond Cauchetier. -- John's Bailiwick American Society of Cinematographers, July 6, 2015"

Intriguingly, many of Cauchetier s most famous pictures epitomising the new wave, weren t actually in the films themselves. One day shooting Breathless on the Champs-Elysees, so many onlookers gathered that Cauchetier couldn t get close. He asked Belmondo and Seberg to come for a quick walk down a quieter stretch of the avenue away from the crowds, getting his famous shot of them ambling along chatting. You can see the happiness in it, he says. The same was true of his classic picture of Seberg kissing Belmondo on the cheek. That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building. You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.--Angelique Chrisafis The Guardian, June 3, 2015

...his on-set photographs...helped not only document, but define a dazzlingly stylish and technically revolutionary movement...--Marley Brown Vanity Fair, June 3, 2015

Author Information

Tab Content 6

Customer Reviews

Recent Reviews

Countries Available