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"The art cinema defines itself explicitly against the classical narrative mode, and especially against the cause-effect linkage of events." (David Bordwell)

The classical narrative mode refers to the narrative style common in films of the classical Hollywood period from the 1940's to the 1960's. These films came from the studio system and its concern for commercial success. Despite the different conventions associated with each genre, these films were about escapism and therefore shared the narrative mode favouring the cause and effect linkage of events, there by keeping the audience engrossed in the story. The classical model used continuity editing which is covert, in order to create a unity of time and space, and tell the story without drawing attention the films as something that has been constructed.

Art films tend to have very different aims from producing a means of escapism and achieving box office success. Although they need to be somewhat entertaining, the film makers usually have something to say so an opposing narrative mode is employed. In the case of Jean Luc Godard, politics and art are usually his issues for concern so he makes the editing overt and self reflexive. This draws attention to himself as the director, brings to light his ideas and provokes an audience reaction, making the film going experience more than escapism.

Critic and film maker Francois Truffaut showed his dissatisfaction with the direction of French cinema in his article 'a certain tendency of the French cinema'. He argued that French films were literary adaptations being made only for a middle class audience, and felt that the older generation had a strangle hold on the film industry, mockingly calling it 'cinema de papa'. Truffaut called for innovation and cinematic movies, he wanted film makers to interrogate their medium and challenge audiences. This became the aim of the French 'New Wave'. Advances in sound recording and technology such as the hand held camera, meant that films could be made with a low budget and independent of studios, this meant that director had complete freedom. Without the studio system, you did not have to spend years working your way up to director, so now the younger generation could make films. These art films were widely seen in universities and art house cinemas across Europe, 'youth culture accelerated the internationalizing of film culture' and 'art theatres and cin -clubs multiplied'(1).

'A bout de souffl' or 'Breathless' was Godard first

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