techniques. A History of the French New Wave Cinema offers a fresh look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the most important New Wave movies of the late 1950s and early 1960s.    Richard Neupert first tracks the precursors to New Wave cinema, showing how they provided blueprints for those who would follow. Jean-Pierre Melville, Alexandre Astruc, and the young Agnès Varda all offered valuable narrative lessons and cheap production models. They were followed by Roger Vadim and Louis Malle, whose sexy story lines and lively new narrative strategies helped define a marketable, youthful cinema. But Neupert demonstrates that it was a core group of critics-turned-directors from the magazine Cahiers du Cinéma—especially François Truffaut, Claude Chabrol, and Jean-Luc Godard—who really revealed that filmmaking was changing forever. Later, their cohorts Eric Rohmer, Jacques Rivette, Jacques Doniol-Valcroze, and Pierre Kast continued in their own unique ways to expand the range and depth of the New Wave.    A History of the French New Wave Cinema captures the dramatic impact these films made upon their release, closely examining such famous movies as The 400 Blows (Truffaut, 1959) and Breathless (Godard, 1960), as well as many less-studied films, including La Pointe Courte (Varda, 1955), Paris Belongs to Us (Rivette, 1960), and Le Bel Age (Kast, 1964).

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