De_Sam The Nouvelle Vague originated from an ideology postulated in Cahiers du Cinéma in the '50s, specifically the idea that film could no longer be ruled by its narrative (which was often an adaptation of other media, particularly critically-acclaimed literary works) but should be completely dictated by the director or, as he was called when fulfilling this role, the 'auteur'. Thus the reactionary countermovement of the Nouvelle Vague proposed a sudden shift from narrative to formal and experimental factors as indicators of quality. Concerning this focus on the formal aspect was the preference of the Cahiers du Cinéma Critics for the mise-en-scène, namely the long take and deep-focus aesthetic (Cook, 2004; Gibbs, 2002).Indeed, the auteur theory or politique des auteurs continues to dominate in the discourse surrounding film, especially in journalistic circles. However, auteur theory has evolved since the Nouvelle Vague, as Kate Ince has illustrated in her analysis of François Ozon; it is no longer the aesthetical techniques in a director's body of work but recurring themes that identify an 'auteur' (2008). The change in meaning of 'auteur' is a clear index of the extent to which the 'broken thread' as Olivier Assayas called it has been reattached. In view of Ince's analysis, which uses the concepts of the Cahiers du Cinéma critics in a diametrical way, it seems that the abandonment of the 'nouvelle vague auteur' has fully disseminated in the academic discourse of film studies. The director is no longer seen as being able to dictate every aspect of the film production process, the only thing he has complete control over is the thematic content (Maule, 2008). As a consequence of the reinterpretation of the auteur theory, content analyses have become more commonplace leading to a declination in the number of formal analyses. For the purpose of complementing Ince's analysis of Ozon's work this essay will perform a close stylistic analysis of the film style in Jeune & Jolie (2013). In addition, it will provide empirical evidence to the claim that the post-nouvelle vague directors reintegrated and re-evaluated the narrative film tradition and style.Consequently, Assayas asserted that directors such as André Téchiné, Maurice Pialat, Jean Eustace and other post-nouvelle vague directors "re-attached the broken thread". In other words they reconciled with the film tradition that was rejected by the Cahier du Cinéma critics. Thus, filmmakers were no longer limited to a long take, deep-focus or, alternatively, an experimental film style. By adapting the existing stylistic tactics, which were institutionalised during the first half of the 20th century, films could once again be a medium to convey narratives.The methodology of the stylistic analysis is rooted in the cognitive film theory of David Bordwell, who proposed an empirical way of analysing the formal aspects of film in Figures Traced in Light. This essay will mainly utilise concepts from the first chapter, titled 'Staging and Style'. Firstly, Jeune & Jolie is created utilising the continuity editing of classical Hollywood, what Bordwell has postulated as the system of editing that least obstructs the viewer in his construction of the narrative while watching the film (1985). Since Ozon opts for this mode of editing it seems evident that he puts more emphasis on the narrative than on the formal aspect of his film. In the second place, Ozon utilises the traditional schemata of opening a scene with an establishing shot, followed by a recurring shot-reverse-shot scheme in which the major participants in the conversation appear alone in frame or is seen over the shoulder of another character (Bordwell, 2005). He uses the schemata for 18 scenes throughout Jeune & Jolie and therefore it constitutes the large part of all poly- and dialogues. Bordwell has noted that this schemata is one of the oldest, most institutionalised and accordingly the most understood method of showing a scene involving dialogue. Thus, once again Ozon elects to emphasize conveying the narrative instead of experimenting with the film form. Thirdly, the characters in Ozon's film dominate the frame and direct the camera, owing to the absence of any open frames; either montage or camera movement reframes the main character when he/she is about to leave the frame. This is most pronounced with the protagonist Isabelle, played by Marine Vacth. The way she is framed differs from the mood of the scene, generally falling into three major categories: BCU or CU for the emotional intense scenes, VLS or LS to show her progressing alienation from her environment and personal relationships, and lastly medium shots for neutral scenes. As a final point, Ozon incorporates not only the film style of the pre-nouvelle vague French Cinema, but also the whole of Western film tradition, dating back to the beginning of the 20th century. This is logical given the way the solution to a specific staging problem is passed on from filmmaker to filmmaker on a global scale, as western films are distributed throughout the entire Western world. Returning to the insistence of Ince that Ozon is an auteur on the basis of his content, this limited stylistic analysis has proven that he does not assert his personal mark on the aesthetic of the film. However, Ince has correctly concluded that Ozon dictates the themes in his film, leading him to be the "first mainstream queer filmmaker" (2008, p. 31). To conclude, in the contemporary French film industry an auteur is no longer determined by his style but by the recurring themes in his oeuvre. Film style has once again become a universal tool to help immerse the audience in the film and convey the narrative of the director.Bordwell, D. (1985). Narration in the fiction film: London, Routledge 1985.Bordwell, D. (2005). Staging and Style Figures traced in light : on cinematic staging (pp. 1-42). Berkeley; London: University of California Press.Cook, D. A. (2004). A history of narrative film (4th ed.). New York: W.W. Norton.Gibbs, J. (2002). Mise-en-scène : film style and interpretation. London: Wallflower.Ince, K. (2008). François Ozon's cinema of desire. In K. Ince (Ed.), Five directors : auteurism from Assayas to Ozon (pp. 157): Manchester University Press.Maule, R. (2008). The Difficult Legacy of the Nouvelle Vague: Olivier Assayas and French Film Authors at the End of Auteurism Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s (pp. 81-105). Bristol: Intellect.

jm10701 Young & Beautiful is one of François Ozon's few completely serious movies, without even the gentle humor of In the House. This will appeal more to fans of Time to Leave or Under the Sand than to fans of 8 Women, for example - unless you love every movie he's ever made, as I do.This is the marvelously well written, directed, photographed and acted story of a beautiful girl named Isabelle, from a prosperous and loving middle-class family, who turns 17 during the course of the movie. She and her younger brother Victor are best friends.She has a strong sex drive but quickly discovers that she doesn't really enjoy the act itself. Her body insists on doing it, and she's in high demand because of her extraordinary beauty, so she goes online and turns it into a part-time job on weekdays after school. She does it more to channel her frighteningly strong drive into something productive than for the money - which seems to me like a remarkably intelligent and sensible decision for a 17-year-old. No one has any idea that she's doing it, even Victor.Everything goes well until the police investigation of a sudden but natural death involves her, and the cops tell her mother. Since she's a minor, she's legally a victim, not a criminal, but the proverbial stuff hits the fan anyway.Besides Ozon's brilliance and skill, which are remarkably consistent across the wide range of genres he experiments with, this movie is extraordinary for three wonderful performances. First is Marine Vacth as Isabelle. It's rare and delightful when a great beauty turns out to be greatly talented as well.Second is Fantin Ravat as her little brother Victor. Theirs is the strongest, healthiest, most interesting and most gratifying sibling relationship I've ever seen.Third is Charlotte Rampling as the wife of one of Isabelle's clients. The scene between her and Vacth is like a cinematic jewel, full of beauty and magic. Those two powerful women and Ozon raise an already very good movie into the heavens. Fantastic.

rowmorg Marine first has sex when she turns 17, with a German boy on the beach during her holidays in the south of France. She has no feelings about him. In the autumn she is dressed up in her mother's stolen grey shirt, blue skirt and high heels, heading towards a big downtown hotel to see Georges, a man probably five times her age, at least. He pays her good money just to caress and stare at the beautiful girl. She does other clients who f++k her hard, we see her at it, but she remains unmoved. In the winter, her mother finds out from the police who investigated the sudden death of Georges, under Marine, while f++king her. Her mother finds all her money, the servant finds out, her young brother finds out, her stepfather finds out. She remains unmoved and only tells a trusting psychiatrist what occurred between Georges and her. In the spring, she hooks up with a boy from school, a "normal" affair at last, but when he starts staying over and having breakfast with the family, she announces that it is over between them. She picks up a phone chip and puts it in her phone. She allows a small smile as dozens of messages from clients rack up. She is not dressed up this time: she returns to Georges' hotel. Georges' aged wife turns up and takes her up to room 6093. They rest there together and Marine thanks her for bringing her to the room, for closure. When she wakes up Charlotte Rampling is gone and the movie ends. Lots of nudity of the pretty young lead actress. Watchable, but meaningless.

Marcela Bombier This film is incredibly slow and apathetic, but that's the beauty of it. Isabelle (Marine Vacth), a girl with a stable family who finds herself in a stable environment, is a strange creature. From what I've noticed, she only had a real connection with two people: her little brother and Alice (Charlotte Rampling). She decides to become a prostitute, even though she didn't need the money and could've had sex with any young guy, and her reasons to start doing such a thing aren't clear. François Ozon directed a film with a lot of million dollar questions.From my personal perspective, she did it for the taste and the thrill provided by the sense of being independent, of doing something dangerous and morally wrong. Even though she felt somewhat disgusted and guilty for having sex with strange men, she kept doing it to, somehow, prove herself that she didn't need anyone's approval to do what she wanted to do - in this case, a dangerous and morally wrong thing. She probably didn't plan to tell anyone, but her family found out in a bad way. I see her as a rebel hearted girl who feels trapped in a cage (in her case, her mother, society, morality, a nice and stable life) and who's holding back her feelings because, if she let them out, they might be too overwhelming - that's why she so apathetic all the time. Or maybe she just couldn't care less about anyone because life is boring and we're gonna die.I enjoyed the film. I enjoyed the photography, the scenarios, the actors, the language, etc. It's not an exciting production, though. It's the perfect movie to watch on a rainy Sunday, when there's nothing else to do.