French New Wave (3 results)
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Published by The British Film Institute., 1963
- Softcover
- First Edition
Seller: Roe and Moore, London, United KingdomRoe and Moore
Contact seller4-star sellerCondition: Used - Very good
US$ 20.58
US$ 15.32 shippingShips from United Kingdom to U.S.A.Quantity: 1 available
Add to basketSoft cover. Condition: Very Good. 1st Edition. 4to. Stapled sheets. Cast lists and synopsis. Frayed and tear 2cm into spine.
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- Softcover
Seller: Max Rambod Inc, Woodland Hills, CA, U.S.A.Max Rambod Inc
Contact seller5-star sellerTruffaut, François. Collection of film pressbooks, 1966-1969, documents mid-twentieth-century film promotion and distribution practices within the French New Wave cinema movement. The material captures how films associated with François Truffaut were presented to journalists and exhibitors, situating his work within the internat…ional circulation of European art cinema. The grouping supports research into cinematic publicity systems, revealing how narrative, authorship, and visual identity were communicated to the press during the global expansion of French New Wave films. Truffaut, François. Pressbook collection for Fahrenheit 451 (1966), The Bride Wore Black (La Mariée était en noir, 1968), Stolen Kisses (Baisers volés, 1968), and Mississippi Mermaid (La Sirène du Mississippi, 1969). Four original pressbooks in illustrated wrappers, each between 4 and 6 pages. These materials include film stills, cast and crew credits, narrative summaries, excerpts of dialogue, and promotional imagery, including layouts for poster designs. The pressbooks were distributed to media outlets at the time of each film's release, providing standardized information and visual content intended for reproduction in reviews, advertisements, and exhibition materials. The layout and content emphasize both the films' narrative elements and Truffaut's role as director, reinforcing auteur-driven marketing. The material documents the system of film publicity and critical mediation through printed pressbooks, showing how distributors and production entities shaped the reception of French New Wave cinema by supplying press-ready narratives, imagery, and interpretive framing, and providing primary-source evidence for the study of international film marketing and auteur theory in practice. During the 1960s, French New Wave directors, including Truffaut, gained international recognition, and structured press dissemination played a key role in establishing their reputations outside France. Light handling wear to wrappers; contents clean and intact; overall very good to near fine condition. A cohesive group illustrating the mechanisms by which European art cinema was introduced and contextualized for global audiences.
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- Photo
Seller: Max Rambod Inc, Woodland Hills, CA, U.S.A.Max Rambod Inc
Contact seller5-star sellerGodard, Jean-Luc. Alphaville (1965) established a distinctive approach to science fiction cinema through the French New Wave movement, advancing minimalist production techniques and philosophical engagement with technology, surveillance, and modernity. Produced during a period of rapid technological anxiety in Cold War Europe, t…he film situates a dystopian narrative within contemporary urban environments, eliminating conventional special effects in favor of stark architectural realism. Its receipt of the top prize at the Berlin International Film Festival in 1965 marked its immediate international recognition and positioned it within ongoing scholarly discussions of European art cinema, genre subversion, and postwar visual culture. Jean-Luc Godard's Alphaville. Paris: Pathé Contemporary Films, 1965. Archive of 5 original vintage photographic lobby stills. Glossy black-and-white photographs measuring between 8 x 10 inches and 11 x 14 inches. The images depict staged scenes from the film, including multiple compositions featuring Eddie Constantine in his role as trench-coated secret agent Lemmy Caution, often shown in confrontational or investigative postures within modernist interiors and stark urban settings. Additional stills present supporting characters and moments of tension, emphasizing the film's austere visual language. Four prints include printed captions beneath the image identifying actors, film title, and production company, consistent with their use as promotional display materials in theatrical exhibition contexts. Issued at the height of the French New Wave, these photographs document the film's deliberate rejection of spectacle in favor of narrative and ideological critique, aligning with broader cinematic shifts toward realism and formal experimentation in 1960s Europe. The use of existing Parisian architecture as a futuristic setting reflects contemporary concerns about bureaucratic control and technological rationalism. Minor edge wear and light surface handling visible; overall very good condition. A cohesive group of exhibition stills that materially demonstrates the visual strategies of one of Godard's most studied works.
