Exploring Team ONE lacrosse programs. What are the different divisions available for boys and girls. How does Team ONE develop young athletes through its various leagues and academies. What opportunities exist for players of different ages and skill levels.
Team ONE Lacrosse: Nurturing Young Talent in the Sport
Team ONE has established itself as a premier lacrosse organization, offering a wide range of programs designed to develop young athletes in the sport. With divisions catering to both boys and girls across various age groups and skill levels, Team ONE provides a comprehensive pathway for lacrosse players to hone their skills and compete at high levels.
Boys’ Programs: Fostering Growth and Competition
Team ONE offers several programs tailored specifically for boys, each designed to meet the needs of players at different stages of their lacrosse journey.
Team ONE West – Boys
The Team ONE West division for boys is one of the cornerstone programs offered by the organization. This division likely caters to players from the western region, providing them with opportunities to compete against other talented athletes in their area. The program focuses on skill development, tactical understanding, and competitive play.
Team ONE North – Boys
Similar to its western counterpart, the Team ONE North division for boys serves players in the northern region. This program aims to cultivate talent and foster a competitive spirit among young male athletes in the area.
Team ONE Academy
The Team ONE Academy represents a more intensive training environment for dedicated lacrosse players. This program likely offers advanced coaching, specialized skill development sessions, and potentially exposure to college recruiters for older players.
Team ONE Wildcat
The Wildcat program may be a developmental or introductory level division, designed to introduce younger players to the sport or provide additional playing opportunities for those looking to improve their skills in a less competitive environment.
Girls’ Programs: Empowering Female Athletes in Lacrosse
Team ONE demonstrates its commitment to gender equality in sports by offering robust programs for girls as well.
Team ONE North – Girls
This division provides girls in the northern region with opportunities to compete and develop their lacrosse skills. The program likely focuses on fundamental skill-building, teamwork, and competitive play.
Team ONE West – Girls
Catering to female athletes in the western region, this program offers girls the chance to engage in high-level lacrosse training and competition. It likely mirrors the boys’ western division in terms of structure and goals.
Youth Development: Nurturing the Next Generation of Lacrosse Stars
Team ONE’s commitment to developing young talent is evident in its offerings for the youngest players in the sport.
8U Boys Develop & Play Summer League: North Shore
This program focuses on introducing very young players to the sport of lacrosse. The emphasis is likely on fun, basic skill development, and fostering a love for the game. The North Shore location suggests a specific geographical focus for this league.
The Team ONE Approach: Building Skills and Character
Team ONE’s diverse range of programs reflects a comprehensive approach to youth lacrosse development. By offering divisions for different ages, skill levels, and genders, the organization ensures that every young athlete has a place to grow and thrive in the sport.
- Skill Development: Programs focus on honing fundamental lacrosse skills
- Competitive Play: Opportunities for athletes to test their skills against peers
- Character Building: Emphasis on teamwork, sportsmanship, and personal growth
- Regional Focus: Divisions catering to specific geographical areas
Benefits of Joining Team ONE Lacrosse Programs
Participating in Team ONE lacrosse programs offers numerous advantages for young athletes. These benefits extend beyond just improving lacrosse skills and can have a lasting impact on a player’s personal development.
- Expert Coaching: Access to experienced coaches who understand the nuances of the game
- Structured Training: Well-designed programs that progressively build skills
- Competitive Experience: Opportunities to play in organized leagues and tournaments
- Social Development: Chance to make friends and learn valuable teamwork skills
- Physical Fitness: Regular practice and play contribute to overall health and fitness
- Potential for Advancement: Pathways to higher levels of play, including college recruitment
Team ONE’s Impact on Youth Lacrosse
The comprehensive nature of Team ONE’s programs has likely had a significant impact on the youth lacrosse landscape in the regions it serves. By providing structured opportunities for players of all levels, Team ONE contributes to the growth and popularity of lacrosse among young athletes.
Has Team ONE’s presence led to an increase in lacrosse participation in its operating regions. While specific data would be needed to confirm this, it’s reasonable to assume that the organization’s wide-ranging programs have helped attract more young players to the sport.
Do Team ONE programs contribute to the overall skill level of youth lacrosse players. The focused training and competitive opportunities provided by Team ONE likely result in more skilled and tactically aware players as they progress through the programs.
Choosing the Right Team ONE Program
With multiple programs available, it’s important for parents and young athletes to choose the right fit. Factors to consider when selecting a Team ONE program include:
- Age and skill level of the player
- Geographic location and travel requirements
- Time commitment and schedule
- Long-term goals in the sport
- Desired level of competitiveness
Is there a tryout process for Team ONE programs. While the information provided doesn’t specify, it’s common for competitive youth sports programs to have some form of evaluation or tryout process. Interested players and parents should contact Team ONE directly for specific information about joining a program.
The Future of Team ONE Lacrosse
As youth lacrosse continues to grow in popularity, organizations like Team ONE play a crucial role in shaping the future of the sport. The comprehensive nature of Team ONE’s programs suggests a strong foundation for continued growth and development.
Will Team ONE expand its programs to new regions or age groups. While we can’t predict the future with certainty, successful youth sports organizations often look for opportunities to expand their reach and impact. This could potentially include new geographical areas or additional specialized programs.
Might Team ONE develop partnerships with schools or colleges. Many youth sports organizations form relationships with educational institutions to create clearer pathways for athletes. This could be an area of future development for Team ONE, potentially offering players increased opportunities for advancement in the sport.
Parental Involvement in Team ONE Programs
The success of youth sports programs often relies heavily on parental support and involvement. While specific details about Team ONE’s expectations for parents are not provided, it’s likely that parents play a crucial role in supporting their children’s participation.
How can parents best support their children in Team ONE programs. Some general recommendations might include:
- Ensuring regular attendance at practices and games
- Providing necessary equipment and transportation
- Offering emotional support and encouragement
- Respecting coaches’ decisions and teaching methods
- Volunteering to help with team activities when possible
- Modeling good sportsmanship and positive attitudes
Does Team ONE offer resources or guidance for parents new to lacrosse. Many youth sports organizations provide educational materials or orientation sessions for parents unfamiliar with the sport. This could be an area where Team ONE supports families joining their programs for the first time.
Team ONE’s Role in the Larger Lacrosse Community
Beyond its direct impact on young athletes, Team ONE likely plays a significant role in the broader lacrosse community. Youth sports organizations often contribute to the overall health and growth of their respective sports in various ways.
Does Team ONE participate in or organize lacrosse events beyond its regular programs. It’s common for established youth sports organizations to be involved in tournaments, clinics, or showcase events that bring together players from different regions or programs.
How does Team ONE contribute to the growth of lacrosse at a grassroots level. While specific initiatives aren’t mentioned, organizations like Team ONE often engage in community outreach, introduce the sport to new areas, and work to make lacrosse more accessible to a diverse range of young athletes.
Measuring Success in Team ONE Programs
While win-loss records are often used to gauge success in sports, youth development programs typically focus on a broader range of metrics to evaluate their effectiveness.
How does Team ONE measure the success of its programs. Some potential indicators of success might include:
- Individual skill improvement of players over time
- Player retention rates from season to season
- Advancement of players to higher levels of competition
- Feedback from players and parents
- College recruitment rates for older players
- Overall growth in program participation
Does Team ONE track the long-term progress of its athletes. Many youth sports organizations maintain relationships with former players, celebrating their successes and using their experiences to inspire current participants. This could be an aspect of Team ONE’s approach to demonstrating the long-term value of their programs.
The Role of Competition in Team ONE Programs
While skill development is crucial, competitive play is also an important aspect of youth sports programs. Team ONE’s various divisions suggest a balance between development and competition.
How does Team ONE structure its competitive seasons. The information provided doesn’t give specifics, but youth lacrosse programs typically include a mix of regular season games, tournaments, and potentially post-season play. The structure may vary between different age groups and skill levels.
Is there a balance between competitive play and skill development in Team ONE programs. Effective youth sports programs often strive to find the right balance, ensuring that players have opportunities to apply their skills in competitive settings while still focusing on individual and team improvement.
Adapting to Trends in Youth Lacrosse
The world of youth sports is constantly evolving, with new training methods, equipment, and approaches to player development emerging regularly. Successful organizations must stay current with these trends to provide the best experience for their athletes.
How does Team ONE stay current with developments in youth lacrosse. While specific methods aren’t mentioned, progressive youth sports organizations often engage in ongoing coach education, attend industry conferences, and maintain relationships with higher-level programs to stay informed about best practices.
Has Team ONE incorporated any innovative approaches to lacrosse training or competition. Without more detailed information, we can’t specify any unique methods used by Team ONE. However, organizations committed to player development often experiment with new training techniques, technology-aided instruction, or alternative competition formats to enhance the learning experience for their athletes.
Building Life Skills Through Team ONE Lacrosse
While developing lacrosse skills is a primary goal, youth sports programs also play a crucial role in building important life skills that benefit players both on and off the field.
What life skills might players develop through participation in Team ONE programs. Some potential areas of personal growth include:
- Time management and discipline
- Leadership and communication skills
- Resilience and ability to handle adversity
- Teamwork and cooperation
- Goal-setting and perseverance
- Sportsmanship and ethical behavior
Does Team ONE incorporate specific character development initiatives into its programs. Many youth sports organizations integrate intentional character-building activities or philosophies into their coaching approach. While we don’t have specific information about Team ONE’s methods, this is a common practice in well-rounded youth sports programs.
The Economic Impact of Team ONE Lacrosse
Large-scale youth sports programs can have significant economic impacts on the communities they serve. While we don’t have specific data for Team ONE, it’s worth considering the potential economic effects of such an organization.
How might Team ONE contribute to local economies. Some potential economic impacts could include:
- Job creation for coaches, administrators, and support staff
- Increased business for sporting goods retailers
- Boost to local hospitality industries during tournaments or events
- Potential for sports tourism in areas hosting Team ONE events
Does Team ONE partner with local businesses or organizations. Many youth sports programs form mutually beneficial relationships with local entities, such as equipment suppliers, training facilities, or community organizations. These partnerships can further enhance the program’s impact on the local community.
Team ONE
Team ONE
-
2022-23 Team ONE West – Boys
-
2022-23 Team ONE North – Boys
-
2022-23 Team ONE Academy
-
2022-23 Team ONE Wildcat
-
2022-23 Team ONE North – Girls
-
2022-23 Team ONE West – Girls
-
8U Boys Develop & Play Summer League: North Shore
Winnetka, IL
-
5v5 Summer League – Girls
June 14 – July 5
Wilmette, IL
-
Girls Summer Develop & Play Intro Lacrosse Clinics: Naperville/Lisle
June 14 – 28, 2023
Lisle, IL
-
2023 Western Summer League – Mens
June 19 – July 31
Naperville, IL
-
2023 Western Summer League – Boys
June 19 – July 31
Naperville, IL
-
2023 Sixes Summer League – Girls
June 19 – July 31
Naperville, IL
-
2023 Sixes Summer League – Womens
June 19 – July 31
Naperville, IL
-
2023 Tri-City Rapids Summer Camp
Featuring the Tri-City HS Varsity Coaches
South Elgin, IL
-
2023 Tri-City Rapids Summer Camp
Featuring the Tri-City HS Varsity Coaches
South Elgin, IL
-
Field.
Box.3v3 Training Camps – Boys
August 14-17, 2023
Winnetka, IL
-
Field.Box.3v3 Training Camps – Girls
August 14-17, 2023
Winnetka, IL
-
2023-24 Team ONE Academy
-
2023-24 Team ONE North – Boys
-
2023-24 Team ONE North – Girls
-
2023-24 Team ONE West – Boys
-
2023-24 Team ONE West – Girls
-
2023-24 Team ONE Wildcat
-
Girls Fall First Sticks
Girls Fall Beginner Program
Northfield, IL
-
Girls Fall House Program
Beginner/Intermedia Level
Northfield, IL
-
Boys Fall First Sticks Program
Beginner/Entry Level
Northfield, IL
-
Fall Boys House Program
Beginner/Intermediate Level
Northfield, IL
Box.3v3 Training Camps – Boys
Team ONE
Team ONE Lacrosse Club provides seasonal and and year round program options for boys and girls K-12th grade of all skill levels looking to participate in lacrosse.
No matter what age, gender, skill level, or time of year, Team ONE has a lacrosse opportunity for you! See below to discover Team ONE’s program options:
-
2022-23 Team ONE West – Boys
-
2022-23 Team ONE North – Boys
-
2022-23 Team ONE Academy
-
2022-23 Team ONE Wildcat
-
2022-23 Team ONE North – Girls
-
2022-23 Team ONE West – Girls
-
8U Boys Develop & Play Summer League: North Shore
Winnetka, IL
-
5v5 Summer League – Girls
June 14 – July 5
Wilmette, IL
-
Girls Summer Develop & Play Intro Lacrosse Clinics: Naperville/Lisle
June 14 – 28, 2023
Lisle, IL
-
2023 Western Summer League – Mens
June 19 – July 31
Naperville, IL
-
2023 Western Summer League – Boys
June 19 – July 31
Naperville, IL
-
2023 Sixes Summer League – Girls
June 19 – July 31
Naperville, IL
-
2023 Sixes Summer League – Womens
June 19 – July 31
Naperville, IL
-
2023 Tri-City Rapids Summer Camp
Featuring the Tri-City HS Varsity Coaches
South Elgin, IL
-
2023 Tri-City Rapids Summer Camp
Featuring the Tri-City HS Varsity Coaches
South Elgin, IL
-
Field. Box.3v3 Training Camps – Boys
August 14-17, 2023
Winnetka, IL
-
Field.Box.3v3 Training Camps – Girls
August 14-17, 2023
Winnetka, IL
-
2023-24 Team ONE Academy
-
2023-24 Team ONE North – Boys
-
2023-24 Team ONE North – Girls
-
2023-24 Team ONE West – Boys
-
2023-24 Team ONE West – Girls
-
2023-24 Team ONE Wildcat
-
Girls Fall First Sticks
Girls Fall Beginner Program
Northfield, IL
-
Girls Fall House Program
Beginner/Intermedia Level
Northfield, IL
-
Boys Fall First Sticks Program
Beginner/Entry Level
Northfield, IL
-
Fall Boys House Program
Beginner/Intermediate Level
Northfield, IL
Box.3v3 Training Camps – Boys
film revolution • Episode transcript • Arzamas
You have Javascript disabled.
Please change your browser settings.
CourseFrance of the era of Sartre, Godard and Brigitte BardotAudio lecturesMaterials
Contents of the fourth lecture from the course “France of the era of Sartre, Godard and Brigitte Bardot”
Author Mikhail Trofimenkov
It is difficult, and perhaps impossible, to find any major director in world cinema over the past half century who, when asked about the decisive influences on his work, would not mention the French “New Wave”. Any directors, of any aesthetic direction, of various genre sympathies, invariably talk about how they were influenced by the films of Godard, Truffaut, Chabrol, Eric Rohmer or Alain Resnais.
This is actually strange, because the “new wave” was just one of the cinematic movements at the turn of the 1950s and 60s that updated the language of cinema, its structure and grammar. Even before the “new wave” there was an English “angry young people” cinema and an existential Polish school, mainly concentrated on the realities of war and occupation (this happened in the mid-1950s).
Simultaneously with the “new wave”, the most powerful Japanese young cinema headed by Nagisa Oshima debuted, followed by the American underground cinema, the Prague Spring school, the Swedish “new wave”, young German cinema …
But the invariable reference point for all those who work in cinema in the era after the “new wave” remains precisely the “new wave”. This is explained simply and paradoxically: the “new wave”, as it were, did not exist as a single movement. There is such a French expression l’auberge espagnole – “Spanish tavern”. In a Spanish tavern, you can find a dish for every taste – simply because visitors to this tavern bring food with them. So the “new wave” unites such different directors that you can really find anything in it. From the quite classic sentimental cinema of François Truffaut to the paradoxical surrealism of Jacques Rivette; from the sophisticated writing of Alain Resnais, which most of all resembles the literary technique of the “new novel” contemporary to him, to Godard’s frantic experiments with the grammar of cinema.
The year of the birth of the “new wave” is conditionally considered 1959, when the films of Alain Resnay “Hiroshima, my love” and Francois Truffaut’s “400 Blows” thundered at the Cannes Film Festival. Godard’s Breathless followed in 1960, considered one of the five most revolutionary films in film history, one of the films that, along with Battleship Potemkin or Citizen Kane, changed the very language of cinema. But at that moment, the expression “new wave” in relation to cinema was not yet used, although this phrase existed in the lexicon of the French mass media and French culture.
Strictly speaking, for the first time about the “new wave” spoke in 1958, a journalist and writer, in the future – the Minister of Culture of France, a brilliant woman Francoise Giroud. She had in mind not cinema, but general rejuvenation, the improvement of the very social atmosphere in France in connection with the fall of the Fourth Republic and the advent of the Fifth. Giroux wrote that everything in France is being renewed, as if the voice of youth is heard, new trends appear in the manner of behavior, in fashion, in music – and on the stage in the broadest sense of the word.
And only at the end of 1962, the magazine Cahiers du cinéma (Cahiers du Cinema), which was considered, or rather, is now considered to be the headquarters and citadel of precisely the cinema of the “new wave”, applied this expression – “new wave” – to cinema.
Now for us the “new wave” is associated with no more than a dozen big names – from Godard to Jacques Demy and Agnès Varda. And then Cahiers du cinéma brought a colossal list of directors of the “new wave”: it contained about 160 names, and the “new wave” was understood very broadly. The members of the “new wave” included all the directors who made their debut from 1958-1959 to 1962. So many young directors have never debuted in French cinema. There was a fashion for youth. And they said that the producers asked each other: “Do you have any young man who wants to make a movie?” Like: “Could you lend me a phone? Would you mind lending it to me?”
Youth and inexperience have already become an argument in favor of a person getting a chance to debut in directing.
At that moment, creative elevators simply changed, if I may say so by analogy with social elevators that elevated people to the rank of directors. If before the middle, before the end 19In the 50s in France, in order to get the right to the first production, a person had to climb all the steps of the hierarchical ladder of film studios, that is, to start, roughly speaking, as the fifth assistant to the assistant to the third cameraman, and after some years, having gained experience on In practice, having tried all cinematic crafts in his own skin, he became a director, then in the era of the “new wave” it turned out that you can become a director literally by coming from the street.
Well, of course, not quite from the street, because those who were part of the most powerful group of directors of the “new wave” – Jean-Luc Godard, François Truffaut, Claude Chabrol, Eric Romer and Jacques Rivette – although they did not study cinema anywhere and they never worked at studios, they were professional moviegoers, that is, they were film critics.
And for six or seven years, while they spoke about cinema in the pages of the magazine Cahiers du cinéma before moving on to directing, they acquired not a working, not a proletarian experience of film studios, but an audience experience. And it turned out that you can do it this way: watch a movie, write about the movie, and then take and stage the movie. This, of course, was a kind of revolution in the field of film production – but still not in the field of film language.
New wave directors are usually divided into two groups. We will talk about the “new wave” already in the narrow sense of the word, forget that Cahiers du cinéma classified more than 160 people as “new wave” directors, including outright artisans who debuted then with some kind of gangster film and then over the course of For 30–40 years, gangster films were successfully filmed. We will talk about about twenty directors who have remained in the history of cinema under the collective pseudonym “new wave”.
Film historians distinguish two large groups of directors. One of them are directors who made their debut as film critics on the pages of the magazine Cahiers du cinéma, and the second group is the so-called “Left Bank Group”: these are Alain Resnais, Agnès Varda, Jacques Demy – directors who already had experience in short films and / or documentaries and at the turn of 19In the 1950s and 1960s they simply made their first full-length feature films.
Did the “new wave” have any manifesto, any theoretical basis? Strictly speaking, no. The first group of directors of the “new wave” are the authors of the magazine Cahiers du cinéma, these are Godard, Truffaut, Chabrol. They were also called the young Janissaries, for the fury with which they attacked the previous French cinema, and also the “Scherer gang”. Maurice Scherer is the real name of the great director, known under the pseudonym Eric Rohmer; he was the oldest among the authors of the Cahiers du cinéma, willingly lent money to young colleagues and therefore was greatly revered by them and was considered their “chieftain”.
They were also called the “Hitchcock-Hawksian gang” because they passionately promoted on the pages of the magazine the work of Alfred Hitchcock and Howard Hawks – directors who, for the then highbrow French public, were associated exclusively with low commercial cinema, with entertainment. But the authors of Cahiers du cinéma just proved that Hitchcock and Hawkes are real artists, they are authors. The term “author”, “director-author” was very important for the “new wave” generation, although in fact there was nothing mystical and poetic in this term initially. The director-author was simply a director who makes films according to his own scripts, which was not accepted in French filmmaking at that time. Now it has become a general routine, but then the director-author is a person who is fully responsible for his film, he writes the script, he also screens it. And only then the concept of “director-author” was filled with some sublime, poetic meaning: the author is almost a poet, the author is a director who neglects genres, who works outside of genres or at the intersection of genres.
So, Scherer’s gang, young Janissaries, Hitchcock-Hawksians can also be called “André Bazin’s nestlings”, since Cahiers du cinéma was the brainchild of a great — not even a film expert, not a film critic, not a film historian — a great philosopher of cinema and, in general, a great philosopher André Bazin. He died early, in the late 1950s, very young, at 40, but Godard, Chabrol, Truffaut really revered him as a godfather and spiritual father. For Truffaut, he was also almost a foster father. When the young hooligan Truffaut was drafted into the army, he did not want to go to the colonial war in Algeria. He deserted and turned to André Bazin, whom he read and revered without knowing him yet, for help – and Bazin, in general, saved him from a military prison and accepted him into the Cahiers du cinéma team.
André Bazin was primarily a Catholic philosopher. And when he wrote about cinema – although he wrote brilliantly about cinema and his book “What is cinema?” remains, probably, the Bible of film criticism of the 20th century – he spoke primarily about metaphysics.
Cinema was for him a mystical instrument, a means of knowing the highest truth. Therefore, in particular, he idolized Roberto Rossellini, not only the father of Italian neo-realism, but also a Catholic mystic, why he so encouraged the interest of his “chicks” in Alfred Hitchcock – because in Hitchcock’s thrillers they all saw mystical parables about wine and redemption, about an ominous double that haunts the protagonist.
But at the same time, André Bazin, believing in the metaphysical function of cinema, formulated extremely important things – the thesis of the ontological realism of cinema, what is also called the “mummy theory”, or “mummy complex”. “Mummy Complex” – because, according to Bazin, cinema, as it were, mummifies reality. And, according to Bazin, the ontological realism of cinema meant that the screen image, the moving picture, is reality. This is the same reality as the physical reality that surrounds us. But this reality is both physical and metaphysical, and this reality is very dangerous, because it provides the widest opportunities for manipulating the spectator’s consciousness, for a harmful influence on the audience.
Therefore, the director must be extremely honest, must be even doubly honest than just an honest person when he makes a movie, because cinematic reality must be treated with the same care as real reality.
It is precisely this idea of cinema as a second reality and the idea that cinema is not divided into fiction and documentary, that cinema is a kind of single body, and the idea that, as Godard will say later, that “cinema films death at work” (keeping in mind that cinema captures the inevitable passage of time) – all these ideas, first formulated by André Bazin, can be considered a kind of general theoretical platform of the “new wave”. Then, a few years later, in the film “The Little Soldier” Jean-Luc Godard’s famous phrase will sound that “cinema is the truth 24 times a second.” It means that each movie frame is 1/24 of a second in time. That is, this is the idea of cinema as a second reality and the increased responsibility of the director in his relation to reality.
In particular, Truffaut said: “As a person I have the right to judge, as an artist – no.” This can be considered a certain general basis of the “new wave” cinema.
But it would be a mistake to assume that it was precisely this confidence in the ontological realism of cinema that allowed the “new wave” to really somehow throw open the shutters, open the doors in a rather musty space, which was traditional French cinema, or high-quality French cinema, or, as it is contemptuously called the directors of the “new wave”, “daddy’s cinema” – and let in the air of reality.
The fact is that cinema, along with architecture, is one of the two “social arts”. This is in the same, if not more, industry, production, technology than art. Maybe cinema is an art even in the last place, and in the first place – production, business, politics, propaganda, and so on. And no matter how wonderful desires young directors may have, wishing to let fresh air finally on the screen, they could not do this if by the end of 19Technological conditions did not mature in the 1950s.
The fact is that only at the end of the 1950s did light cameras appear and come into wide circulation, which could be used to shoot from the shoulder, it was possible to shoot on the streets. Before that, it was simply physically impossible to shoot on the streets. Only at the end of the 1950s did it become possible to record sound synchronously, including on the street, in open space. And without these technological innovations, the “new wave”, of course, would not have been possible. It would have remained a collection of good wishes that future directors expressed on the pages of Cahiers du cinéma, and a collection of curses that they addressed to traditional, old, “daddy’s” cinema.
Such a famous (or notorious, if you like) article by François Truffaut “On a Trend in French Cinematography” can be considered the manifesto of the “new wave”, which, as the legend says, André Bazin did not dare to publish for several years due to its radicalism and, only holding this article for two or three years in the drawer of his desk, he decided to publish it.
In fact, if you re-read this article, there is nothing revolutionary in it, it is rather counter-revolutionary, because Truffaut curses contemporary French cinema, this is “French quality cinema”, or “daddy’s cinema”, because it is disrespectful to state institutions, because it is disrespectful to the family, because it makes films about adultery, about adultery, because the school is ridiculed on the screen, the church is ridiculed.
Rereading this article, one may experience some shock, because for us, in hindsight, the “new wave” seems, if we talk in political terms, to be something radically left. It is clear that later experience is superimposed on this, because in 1968 the directors of the “new wave” will really be on the Parisian barricades during the student uprising and Godard will become the most left-wing among the left-wing directors, will go to shoot films in Palestinian refugee camps, and so on and so forth. .
In addition to the Scherer faction, or the Scherer gang, which extolled Hitchcock and Hawkes, there was and was a so-called dandy progressive faction in the Cahiers du cinéma, which included young, also wonderful, but less well-known directors of the “new wave”, such as Doniol -Valcroze.
They were in the Communist Party and fought to the death with their colleagues in the magazine, because Godard, Truffaut and Chabrol for the left cultural community were reactionaries, right anarchists, Catholics – in general, such enraged petty bourgeois, if you use Lenin’s terminology. And indeed, if the directors of the “new wave” in terms of their ethics, their attitude to social reality, were anarchists, then it really was such a right-wing, if you like, petty-bourgeois anarchism.
In addition to the desire to let fresh air on the screen and faith in the ontological realism of cinema, the directors of the “new wave” were united by the cult of asocial action. All the heroes of the first, best, loudest films of the “new wave” are people who, one way or another, by their own will or through the fault of circumstances, through the fault of fate, find themselves in confrontation with society. New wave cinema glorified antisocial behavior in the best sense of the word. It could have been the senseless theft and accidental murder committed by petty crook Michel Poicart in Godard’s breathless debut; or it could be the reluctance of the hero of another Godard film, The Little Soldier, to stand on one side or the other of the barricades in the atmosphere of the civil war that was actually going on in France at the beginning of 1960s: he did not want to be either with the supporters of the independence of Algeria, or with the fascist bandits from the organization OAS OAS (Organization armée secrète, literally – “Secret Armed Organization”) – an underground terrorist organization whose goal was to keep Algeria in the composition France.
The “Secret Army” was led by officers and far-right activists. In 1961-1962, the OAS organized a number of major terrorist attacks and political assassinations, as well as several assassination attempts on President de Gaulle. K 1963 OAS leaders were arrested, some of them were executed. and died as a result.
It could be a spontaneous rebellion of a child who is uncomfortable in the family and who runs away from the family, as in the first beautiful sentimental masterpiece by François Truffaut “400 Blows”. It could be asocial, in general, the behavior of golden youth, respecting no one and nothing, as in one of the first films by Claude Chabrol “Cousins”. Or it could be the fate of a person who, due to an insurmountable set of circumstances, suddenly finds himself in absolute loneliness, without a roof over his head, without any means of subsistence at all, as in Eric Rohmer’s debut film The Sign of the Lion. That is, it was really revolutionary – from the point of view of dramaturgy, from the point of view of the choice of the main character.
For the first time in world cinema, a movement appeared that not only opposed the hero to society, but did not want the hero to be reconciled with society. Didn’t want a happy ending. There were no happy endings in the films of the “new wave”, at least in the first years of its existence. It was the first cinematic direction to cancel the happy ending. And, probably, this is the main thing that united the directors of the “new wave”, because in terms of, in fact, the grammar and syntax of cinematography, they were very different. Godard really broke all the ideas about the grammar of cinema, because he did not know very well how to shoot, but he knew well how not to shoot, and in his film “Breathless” he violated all the existing written and unwritten laws of editing, writing dialogues, work with actors. Or, like Truffaut or Chabrol, directors could work within quite traditional forms and even traditional genres, it doesn’t matter. The main thing that united them was the challenge to society.
As for the second group that I mentioned, the “Left Bank Groups”, this is, first of all, of course, Alain Resnais, Agnès Varda, Agnès Varda’s husband Jacques Demy, who will shoot in 1964 the famous, as it were, musical “The Umbrellas of Cherbourg”, where for the first time in the history of world cinema, simple, ordinary people from the city of Cherbourg, in general, the proletariat, will sing on the screen. They will sing the most banal phrases, but this will add some poetry, some beauty to the ordinary. And through this anti-realism, the Left Bank Group also let the fresh air of French reality onto the screen, because it was, in principle, an anti-realist group.
The directors of the “Left Bank Group” made their debut in documentaries, that is, they had to be much more reverent in relation to reality than Godard and company. But nevertheless, when they switched to feature films, to fiction, they turned out to be the biggest formalists in French cinema. For example, Alain Resnais made his first films – “Hiroshima, my love”, “Muriel, or the Time of Return” and even more so “Last Year in Marienbad”, staged according to the script of the leader of the “new novel” Alain Robbe-Grillet – built like a writer – a modernist who writes text on paper, freely shuffling time and space.
And at the same time with this refined formalism that Alain Resnais and his colleagues in the Left Bank Group brought to the general New Wave movement, in contrast to the directors of the Cahiers du cinéma group, they were very politically biased.
From the very beginning, they turned to the most cruel and urgent political problems that worried not only the French, but all of humanity. Alain Resnais caused a scandal with the film “Hiroshima, my love”, when he combined two tragedies of the Second World War in the space of one story, one discourse. One colossal, global, mass tragedy – the atomic bombing of Hiroshima, and a private, almost obscene tragedy of a French girl who fell in love with a German soldier during the war, and then this soldier was killed, and after the liberation, the girl was shaved bald, declared German bedding and mocked in every possible way .
It was a colossal trauma to the French consciousness, in France they preferred not to talk about such things, they preferred not to talk about the very cruel, often bloody purges that followed in 1944-1945 after the liberation of France from the Nazi occupation.
But here Alain Resnais dared to equate the individual tragedy and the tragedy of an entire nation, the tragedy of a French girl and the tragedy of the Japanese people. And then until the early 1970s, he became more and more politically engaged.
Agnès Varda was also politically engaged, she made a wonderful film “Cleo from 5 to 7” – in general, it would seem, nothing special, everyday drama. The heroine, a singer named Cleo, is waiting for the results of medical tests, in two hours she must receive them and find out whether she has cancer or not, and these two hours she wanders around Paris. But now her illness becomes – Agnès Varda says it openly – a metaphor for the illness of the entire French society. And a metaphor for the bloody war in Algeria that France was waging at that moment. And after that, Agnes Varda will go to Cuba to film the Cuban revolution. It is impossible to imagine that, say, Truffaut, or Chabrol, or Eric Rohmer went to Cuba at that time – but nevertheless, such a whim of history, as if the synchronism of debuts, unites such different groups under the common label “new wave” as the group Cahiers du cinéma and “Left Bank Group”.
Of course, whatever the technological revolution that happened in the late 1950s, there would not have been a “new wave” if there had not been such an amazing concentration of really evil young talents who were dissatisfied with contemporary cinema and literally burst onto the screen, burst into the history of art, into the history of cinema of the 20th century. And no matter how different they may be, Godard and Truffaut, Chabrol and Rene, Louis Malle and Agnès Varda, all the same, there is no need to revise their commonality, there is no need to question the fact that the “new wave” existed. Because it is precisely because they are so different that this very “new wave”, as if non-existent, continues to be in fact the most influential movement in world cinema over the past half century.
Thus, when this “new wave” arose in the quiet backwater of French cinema is more or less clear: when the directors of the “new wave” made their debut. When did it end? I must say that, like any cinematic movement, the “new wave” was buried more than once or twice.
But, perhaps, it can be said that the “new wave” as a kind of integrity, even if imaginary, ended exactly when Cahiers du cinéma published a colossal list of “new wave” directors. The end of the “new wave” can be dated to about 1963 – when Godard, the most radical among the directors of the “new wave”, makes, in the opinion of his associates, a treacherous gesture: he agrees to make a film with a huge budget in a big studio, to make a film on a literary basis (based on the novel by Alberto Moravia “Contempt”) and , and most importantly (shame on him, shame on him!), put on a film starring such commercial stars as Brigitte Bardot and Michel Piccoli. Godard was cursed for this, they said that he killed the “new wave”, but nevertheless the film “Contempt”, which was filmed contrary to all the written and unwritten laws of the “new wave”, remains in the history of cinema as the greatest film about cinema, as the greatest a requiem for the old cinema, which was so loved by the authors of Cahiers du cinéma and which Godard performed.
And, of course, honor and praise to Godard for the fact that in this film he made one of the heroes of the great Fritz Lang, before whom he bowed, one of the greatest German and American directors 1920-50s.
At the same time, let’s say, the ideas of the “new wave”, if they existed, were also betrayed by Claude Chabrol, who began to shoot, speaking openly, the devil knows what: films about special agents, “Tiger strangles with dynamite”, “Tiger loves fresh meat”, “Marie Chantal vs. Dr. Ha”. But in this, in general, there was no betrayal of the “new wave” either – just as there was no betrayal in Godard’s decision to cooperate with a big studio, because the “new wave” adored genre cinema and, shooting these spy films, Chabrol simply realized that , which he dreamed of when he was still a critic of Cahiers du cinéma.
On the one hand, one can, of course, say that the “new wave” ended by 1963, because it was betrayed by Godard, Chabrol, Truffaut, who also went into the studio production system.
But, on the other hand, one of the principles of the “new wave” by and large was unscrupulousness, variability, proteism. They could not betray their own principles, because they invented these principles themselves. They themselves decided what kind of cinematography should be and what kind of “new wave” should be.
For chronological simplicity, in order not to really go too far into the chronological and terminological wilds, we will assume that the “new wave” as a holistic movement ended by 1963. But obviously, the “new wave” will live as long as the last director of the “new wave” is alive. And Jean-Luc Godard still shoots and is full of energy. He is 87 years old, and recently, when he was asked if he had seen the feature film “Young Godard” dedicated to him, he replied that he did not, because the past does not interest him – he is only interested in the future. And in this, Godard, at the age of 87, is true to the principles of the “new wave”, and the “new wave” will die only together with its last director.
New course! The Islamic Revolution in Iran: How It Changed Everything
Maxim Alontsev’s Lectures on Shahs, Imams, Ayatollahs, Marxists, Football and Oil — and How All of This Leads to the Events of 1979
Do you want to be aware of everything?
Subscribe to our newsletter, you’ll love it. We promise to write rarely and to the point
Courses
All courses
Special projects
Audio lectures
23 minutes
1/5
France after the war: jazz, cafes and the restoration of the country
How General de Gaulle became President de Gaulle, and the French returned to civilian life
Reading Maria Anninskaya flock to peace life
36 minutes
2/5
New French Philosophy: Marxism, Freudianism and Structuralism
How French Philosophers Changed the View of the World
Reading Galina Kuznetsova
How French philosophers turned the idea of the world upside down
36 minutes
3/5
New French literature: time for experiments changed it
Reads Galina Kuznetsova
How French writers began to play with the reader and changed him
29 minutes
4/5
The French New Wave: a revolution in cinema
How young directors abandoned “daddy’s cinema” and violated all the rules of cinema
Reads Mikhail Trofimenkov
How young directors abandoned “daddy’s cinema” and broke all the rules of cinema
25 minutes
5/5
France in the 1960s: the victory of the young
How a cheerful and evil generation grew up in France baby boomers
Reads by Maria Anninskaya
How the cheerful and angry baby boom generation grew up in France
Materials
Guide to Paris in the 1950s and 60s
Favorite streets, cafes , bookstores and clubs of metropolitan intellectuals
A Frenchman’s playlist
What songs did de Gaulle fans, students and lovers listen to in the 1950s and 60s
Major films of the French New Wave
How Godard, Truffaut and other directors experimented with cameras, actors and color
O ProjectLicensePrivacy PolicyFeedback
Arzamas Radio GooseGusgusArzamas
stickersOdnoklassnikiVKYouTubePodcastsTwitterTelegramRSS
History, literature, art in lectures, cheat sheets, games and expert answers: new knowledge every day
© Arzamas 2023.
All rights reserved
Director of the camp “New Wave” Ruslan Kamyakov about creative recreation in the Moscow region
#LIFE_INCAMP
Skip to content
When a child has a vacation, parents have to solve a difficult task – to figure out how to organize a children’s vacation. This is a serious process, and we strive to facilitate it by providing the most complete and reliable first-hand information about children’s camps.
This time we asked Ruslan Kamyakov, director of the New Wave camps, about what a good creative camp should look like, what are the features of such a holiday.
Ruslan, what are the main advantages of your camp? Why should parents send their child to you?
First of all, these are unique author’s programs. Secondly, in addition to the pleasant entertainment part, it is the safety of children and the provision of psychological support to them, which is provided by a professional team of counselors and teachers.
Thirdly, affordable prices for tours.
How good is the security system at the camp? Can parents be calm for their child?
Yes, parents do not have to worry about the safety of their child, as the territory is monitored by video surveillance around the clock. The protection of public order and the safety of children and employees throughout the summer is guaranteed by employees of the private security company. Administrators of the buildings and night caregivers (one on each floor) are on duty around the clock in the buildings, the children are under constant supervision. During public events, all requirements for a comfortable and safe stay are also observed.
Child safety at the camp
What qualities should a counselor have to work in your camp? How do you control the work of counselors?
The most important thing in the work of a counselor is love for children.
In addition, he must take a responsible approach to his work, be kind, sincere, resourceful, and strive for self-development. And of course, we strictly control the success and qualifications of each of our employees involved in working with children.
The work of counselors is regulated by the camp administration. Each counselor keeps a counselor’s diary, updating it daily. At the end of the working day, he submits a report on the work done. We analyze these reports, keep a rating and evaluate the progress of each counselor throughout the entire shift.
From the scene. New requirements for the work of children’s camps and counselors in a pandemic
What camp activities do children like the most? Why?
Most of all, the guys in our camp love various quests. Quest is not just a puzzle. This is a challenge, accepting which you can immediately show all your skills and talents, test your ingenuity and work as a team to solve the next riddle.
Our employees try to create the most interesting and exciting games with the search for objects, ciphers, clues, etc. We provide various prizes and incentives for the winners, which gives children an additional incentive to participate in such events.
What are you most proud of as a camp leader?
I am most proud of my team, with whom I have been working for 8 years. We make every effort to make the rest of the children in our camp unforgettable, so that the children would like to come here again.
What do you think is the difference between a good children’s camp and a bad one ?
I would single out the following criteria:
- high child safety;
- good living conditions;
- availability of an interesting program;
- professional work of the pedagogical team;
- the ability to find an approach to any child.
What advice would you give to parents sending their children to your camp?
Give your child more freedom and time to adapt to camp life.
The most important thing is to stop worrying and trust the professionals. The camp is a safe place where the child has fun, relaxes, develops and gains strength. Our task is not to interfere, to encourage and protect from negative influences. With this we have learned to cope masterfully, and parental excitement in this matter will not help.
What to bring to the camp?
Tell us the funniest thing that happened in your camp during its existence.
A funny incident happened in the summer of 2014 in a camp on the Black Sea. The parents of one girl sent her to the camp for the first time and soon found that they could not get through to her. They raised the ears of the entire camp, which is understandable and predictable. We quickly tracked down their daughter. It turns out that the girl pulled the battery out of the phone while still on the bus so that her parents would not call her. She also did not call them, because, according to her, she came to take a break from mom and dad.
How do you plan to develop the camp in the near future? What new features can you offer?
We develop the camp every year. We post the results of each day on our website for parents every day. Every year we invite volunteers from abroad, with whom children can not only practice a foreign language, but also learn something unusual. We often hold contests, according to the results of which everyone can win a prize for themselves – from New Wave commemorative products to a free trip. There are plans to expand the costumes to make our events even more colorful and memorable.
In the creative camps “New Wave” in the Moscow region, each session is dedicated to a specific topic. On the change of “Republic profession” the child will be able to try a lot of activities and hobbies and think about what he wants to become in the future. On the shift “Big dances” they meet young dance lovers, and the shift “Special case” will be a real event for little detectives who are keen on quests, riddles and puzzles.
