Reflexive narration and narrative discontinuity in New Wave cinema, 1958–1975

Start

End

Jan 1, 1958

Chabrol’s Le Beau Serge signals New Wave break

Claude ChabrolLe Beau

May 1, 1959

Truffaut’s The 400 Blows opens Cannes

Fran oisThe 400

Jun 10, 1959

Resnais’s Hiroshima mon amour premieres in France

Alain ResnaisHiroshima mon

Mar 16, 1960

Godard’s Breathless releases with jump-cut modernity

Jean-Luc GodardBreathless

Timeline

19581962196619701974

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Authored by

Michael Carrico|Updated Apr 23, 2026

19581962196619701974

Michael Carrico

Updated:Apr 23, 2026

|Privacy Policy

Library Cinematic Techniques Aesthetics

Reflexive narration and narrative discontinuity in New Wave cinema, 1958–1975

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Chabrol’s *Le Beau Serge* signals New Wave break

Truffaut’s *The 400 Blows* opens Cannes

Resnais’s *Hiroshima mon amour* premieres in France

Godard’s *Breathless* releases with jump-cut modernity

Reflexive narration and narrative discontinuity in New Wave cinema, 1958–1975

Chabrol’s *Le Beau Serge* signals New Wave break

Truffaut’s *The 400 Blows* opens Cannes

Resnais’s *Hiroshima mon amour* premieres in France

Godard’s *Breathless* releases with jump-cut modernity

Resnais’s *Last Year at Marienbad* releases in France

Godard’s *Vivre sa vie* adopts twelve-tableau structure

Censored *Le Petit Soldat* finally releases in France

Resnais’s *Muriel* debuts with jagged temporal editing

Godard’s *Contempt* releases as reflexive film-about-filmmaking

*Pierrot le fou* opens in France with collage narration

Godard’s *Masculin féminin* frames story as “15 events”

*Two or Three Things I Know About Her* releases with whispered narration

Godard’s *Weekend* releases, declaring an “end of cinema”

Godard and Gorin’s *Tout va bien* explores post-1968 political form

Truffaut’s *Day for Night* releases as meta-cinema mainstreaming reflexivity

Rivette’s *Céline and Julie Go Boating* releases with recursive storytelling

Chabrol’s Le Beau Serge signals New Wave break

Truffaut’s The 400 Blows opens Cannes

Resnais’s Hiroshima mon amour premieres in France

Godard’s Breathless releases with jump-cut modernity

Chabrol’s Le Beau Serge signals New Wave break

Truffaut’s The 400 Blows opens Cannes

Resnais’s Hiroshima mon amour premieres in France

Godard’s Breathless releases with jump-cut modernity

Resnais’s Last Year at Marienbad releases in France

Godard’s Vivre sa vie adopts twelve-tableau structure

Censored Le Petit Soldat finally releases in France

Resnais’s Muriel debuts with jagged temporal editing

Godard’s Contempt releases as reflexive film-about-filmmaking

Pierrot le fou opens in France with collage narration

Godard’s Masculin féminin frames story as “15 events”

Two or Three Things I Know About Her releases with whispered narration

Godard’s Weekend releases, declaring an “end of cinema”

Godard and Gorin’s Tout va bien explores post-1968 political form

Truffaut’s Day for Night releases as meta-cinema mainstreaming reflexivity

Rivette’s Céline and Julie Go Boating releases with recursive storytelling