See new wave (sense 1).
[French : nouvelle, new + vague, wave.]
nouvelle vague
Dictionary:
nouvelle vague (väg')  |
| Artist: Nouvelle Vague |
- Genres: Electronica
- Representative Albums: "LateNightTales," "Nouvelle Vague," "New Wave"
Biography
With a name that means "new wave" in English and "bossa nova" in Portuguese, Nouvelle Vague's moniker neatly sums up the group's concept: remaking classic new wave singles with a Brazilian pop twist. Nouvelle Vague is the brainchild of French producers Marc Collin and Olivier Libaux. Prior to this collaboration, Collin played with the trip-hop outfit Ollano; composed film soundtracks such as The Kidnapper's Theme; and released electronic music ranging from club-oriented material for Paper Recordings to more eclectic fare for Fcom and Output Records (under the aliases Avril and Volga Select, respectively). Libaux played with various French pop bands during the '90s and began working with Collin in 1998. For Nouvelle Vague, Collin and Libaux recruited half a dozen French and Brazilian vocalists who were unfamiliar with the original versions of songs like Joy Division's "Love Will Tear Us Apart" and XTC's "Making Plans for Nigel" to ensure that their renditions had their own identity. Nouvelle Vague was released in Europe in 2004 and received U.S. distribution in spring 2005, which coincided with tour dates in locales as far-flung as Shanghai, New York, Los Angeles, and Rio de Janeiro. Nouvelle Vague's second album, A Bande a Part, arrived in summer 2006. The following year, the team returned with Coming Home, a collection of songs from films given the Nouvelle Vague treatment. New Wave, a collection of covers by new wave artists, also arrived in 2007. ~ Heather Phares, All Music Guide| Discography: Nouvelle Vague |
| French Literature Companion: Nouvelle Vague |
A term originally coined by Françoise Giroud in L'Express to describe the movement that from 1958-9—the years in which Chabrol, Godard, Resnais, and Truffaut released their first feature films—revolutionized the French cinema. Inspired by the vitality of the Hollywood ‘B’ movie, the wider availability of equipment suitable for location filming, and the self-conscious iconoclasm of Existentialism, the new directors showed a fierce determination to establish film as the cultural equal—if not the superior—of more ‘respectable’ art-forms such as the novel. Most of them had worked as film critics (generally for Cahiers du cinéma); all had spent much time in the Paris Cinémathèque. Their trademarks included widespread use of the jump-cut (moving abruptly from the beginning of an action to the end), uncoupling of the image and the soundtrack (helped by almost universal location filming), and a rejection—often (as with Truffaut) contemptuous—of the older school of ‘literary’ cinema with its stress on décor and plot. Financial reasons determined all this as much as aesthetic ones: the Nouvelle Vague made low-budget filming outside the orbit of the big studios a reality for many.
Its major directors not listed separately were Claude Chabrol, influenced by Hitchcock and fond of lampooning the provincial bourgeoisie (Le Beau Serge, 1958; Que la bête meure, 1969; Les Noces rouges, 1973), and Jacques Rivette, whose convoluted stories-within-stories evoke the Nouveau Roman or even Perec (Paris nous appartient, 1961; Céline et Julie vont en bateau, 1974). Chris Marker, Jacques Demy, and Jacques Rozier are other important figures associated with the movement, though since it never issued a manifesto or formally constituted itself it is a matter of opinion who is or is not a ‘Nouvelle Vague director’. By the same token, it is difficult to say when the Nouvelle Vague ceased to exist; May 1968 and the Cinémathèque affair brought its main figures together in action, but their film-making practices had already begun to diverge widely. Its continuing influence is, however, shown by the fact that in 1990 Godard made a film—starring Alain Delon, an actor never associated with the movement—with the title Nouvelle Vague.
[KAR]
Bibliography
- J. Monaco, The New Wave (1976)
| WordNet: Nouvelle Vague |
Note: click on a word meaning below to see its connections and related words.
The noun has one meaning:
Meaning #1:
an art movement in French cinema in the 1960s
Synonym: New Wave
| Wikipedia: Nouvelle Vague (band) |
| Nouvelle Vague | |
|---|---|
 Nouvelle Vague playing Rockefeller Music Hall, Norway in February 2007
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| Background information | |
| Origin | France |
| Genre(s) | Lounge Alternative rock |
| Years active | 2003–present |
| Members | |
| Marc Collin Olivier Libaux Various singers |
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Nouvelle Vague is a French musical collective led by musicians Marc Collin and Olivier Libaux. Their name is a play on words, meaning "new wave" in French. This refers simultaneously to their "Frenchness" and "artiness" (the '60s new wave of cult French cinema), the source of their songs (all covers of punk rock, post-punk, and New Wave songs), and their use of '60s bossa nova-style arrangements ("bossa nova" being Portuguese for "new wave").
On their first album, Nouvelle Vague, the group resurrected classics from the New Wave music era, and reinterpreted them in a bossa nova style. The songs were stripped back to acoustic arrangements with lithe shaker rhythms achieved by gathering a parade of chanteuses from all over the world (six French, one Brazilian and one New Yorker) to cover bands including XTC, Modern English, The Clash, Joy Division and The Undertones. The various female singers on Nouvelle Vague only performed songs they had never heard before, to ensure that each cover would have a unique quality.
Their second album, Bande à Part, includes versions of "Ever Fallen in Love (With Someone You Shouldn't've)" by Buzzcocks, "Blue Monday" by New Order, "The Killing Moon" by Echo and the Bunnymen and "Heart of Glass" by Blondie.
Members, former members and contributors include many French artists who are now very well known on their own and considered as part of what is now called the "Renouveau de la chanson française" (the "Renewal of French chanson"): Anaïs Croze, Camille Dalmais, Phoebe Killdeer, Mélanie Pain and Marina Céleste.
Contents |
Appearances in media
- Their song "In a Manner of Speaking" appears during the end credits of the film A Mighty Heart as well as the Channel 4 drama Sugar Rush, the song has also featured on an episode of Hollyoaks, and was prominently featured in the Korean drama Soulmate.
- Their cover of "Making Plans for Nigel" by XTC was used as the background music for the Air France website.
- "Just Can't Get Enough", "O Pamela" and "Teenage Kicks" have also been used in Channel 4's Sugar Rush.
- The United States television channel Turner Classic Movies began using Nouvelle Vague's cover of "Dance with Me" by The Lords of the New Church in 2007 for an advertisement featuring former selections from the Cannes Film Festival.
- In 2005, their cover of Modern English's "I Melt with You", was used for the soundtrack of the black comedy film, Mr. & Mrs. Smith, and appeared in a 2007 American television commercial for the GMC Acadia as well as UK adverts for Vicks Sinex and T-Mobile. It was also used in the third season of American reality series The Hills, in the second season (episode 8) of Grey's Anatomy, and the in the third episode of the first season of the UK drama Mistresses.
- Their cover of The Dead Kennedys' "Too Drunk to Fuck" was used in the 2007 film Planet Terror.
- Their versions of "Just Can't Get Enough" and "Teenage Kicks" have both been used in adverts in the UK.
- Recently, their cover of Billy Idol's "Dancing with Myself" has been featured in advertisements for TLC's show LA Ink. It was also used as the show's opening theme song.
- Their cover of "Marian" by the The Sisters of Mercy appears in season 4 of Nip/Tuck.
- Their version of The Clash's "Guns of Brixton" appeared regularly in series 2 of Harry and Paul, during the "Cafe Polska" sketches.
- Their version of The Undertones' "Teenage Kicks" was also used on an advert for the second series of The Inbetweeners.
- Their version of Bauhaus' 1979 single "Bela Lugosi's Dead" was used at the opening of the movie Elvis and Anabelle.
Discography: Albums
- Nouvelle Vague (Peacefrog Records, 2004)
- Bande à Part (Peacefrog Records, 2006)
- Late Night Tales: Nouvelle Vague (Azuli, 2007)
- 3 (Peacefrog Records, 2009)
Discography: Singles
- Eisbaer (The Perfect Kiss / Peacefrog Records, 2006)
Other contributions
- Acoustic 05 (2005, Echo) - "Just Can't Get Enough"
- Chillout Sessions 9 (2006, Ministry of Sound) - "Blue Monday"
- Acoustic 07 (2007, V2 Records) - "Heart of Glass"
External links
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 | Jacques Rivette |
| Claude Chabrol |
| Bande à Part (2006 Album by Nouvelle Vague) |
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 | Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved. Read more |
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| Artist. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved. Read more |
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| French Literature Companion. The New Oxford Companion to Literature in French. Copyright © 1995, 2005 by Oxford University Press. All rights reserved. Read more |
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| WordNet. WordNet 1.7.1 Copyright © 2001 by Princeton University. All rights reserved. Read more |
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Mentioned in
- Jacques Rivette
- Claude Chabrol
- Bande à Part (2006 Album by Nouvelle Vague)
- Bande à Part [Bonus Tracks] (2006 Album by Nouvelle Vague)
- new wave
- Phoebe Killdeer (Electronica Artist)
- Jean-Paul Belmondo
- Michèle Morgan
- New Wave (2007 Album by Nouvelle Vague)
- The Luaka Bop: The Sound of Sound (2007 Album by Various Artists)
- Cahiers du cinéma
- Nouvelle Vague (Electronica Band, 2000s)
- Nouvelle Vague [14 Tracks] (2004 Album by Nouvelle Vague)
- Nouvelle Vague [Clean] [12 Tracks] (2005 Album by Nouvelle Vague)
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