French New Wave  New Wave () is a French art film movement which emerged in the late 1950s. The movement was characterized by its rejection of the era's traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine "Cahiers du cinéma" in the late 1950s and 1960s. These critics rejected the "Tradition de qualité" ("Tradition of Quality") of mainstream French cinema, which emphasized craft over innovation and old works over experimentation. This was apparent in a manifesto-like 1954 essay by François Truffaut, "Une certaine tendance du cinéma français", where he denounced the adaptation of safe literary works into unimaginative films. Along with Truffaut, a number of writers for "Cahiers du cinéma" became leading New Wave filmmakers, including Jean-Luc Godard, Éric Rohmer, Jacques Rivette, and Claude Chabrol. The associated Left Bank film community included directors such as Alain Resnais, Agnès Varda, and Chris Marker. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking often presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of realism, subjectivity, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. Alexandre Astruc's manifesto "The Birth of a New Avant-Garde: The Camera-Stylo", published in "L'Écran" on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and the "Cahiers du cinéma". It argues that "cinema was in the process of becoming a new means of expression on the same level as painting and the novel ... a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel.