Veteran film scholar Nowell-Smith (The Oxford History of World Cinema) is indeed making waves as he demystifies the new cinemas of the 1960s in Europe and Latin America. He doesnt hesitate to point out that a new-wave directors use of a documentary style or black and white was because of financial rather than aesthetic reasons, or that some of the innovative techniques used (e.g. shaky camera, jump cuts, and strangely accentuated location sounds) actually reflect incompetence in overcoming difficulties in location shooting. Particularly interesting is his analysis of the change in British culture and how it affected free cinema in that country and the contrast between the diversity of new filmmaking in France and the corresponding dearth of new wave in Italy... this work distinguishes itself as an all-encompassing text on the subject, unlike others that focus on an individual country during the 1960s. Recommended for both public and academic libraries. -- Library Journal
Its lucid and well-structured prose makes it a suitable addition to any students reading list. -- PopMatters.com
[A] brisk, sharp-witted primer on one of the most explosively creative periods of filmmaking. -- Los Angeles Times
A brisk refresher course for cinephiles: Nowell-Smith, editor of The Oxford History of World Cinema, zeros in on the European New Wave, and the exuberant mavericks - Godard, Antonioni, et al. - who reinvented film during the 1960s. Warning: You'll be adding Breathless, L'avventura and Mamma Roma to your Netflix queue. -- New York Newsday
The 60s saw an eruption of cine-movements around the globe. The British Free Cinema, the French and Czech New Waves and the Polish School (among others) all jostle for space as Nowell-Smith tries to pack their innovations into a small single volume. A lack of snaps and an academic tone dont exactly set the pulse racing, but at least the author admits that the Euro film bias is there because thats what he knows best. -- Total Film, UK
Nowell-Smith is exacting with detail and sparing with the flabby bits that often characterize cinematic study. -- Empire (UK)
Making Waves is a vivid reminder of the newness of 1960s cinema and a useful introduction to the passionate debates of a uniquely creative period. -- Sight & Sound (UK)
A gratifyingly concise introduction to the likes of Bergman, Antonioni and Pasolini. -- Daily Telegraph (UK)
[T]he writing is always engaging and complex issues are handled with a pleasing lightness of touch, while some incisive film criticism made this reader want to see the films again. -- Andrew Higson, BBC History Magazine, 2008
In his new book, Making Waves, Geoffrey Nowell-Smith reviews the crests of these cinematic new waves. In sharp, clearly written prose, Nowell-Smith provides a broad context, considering not just films and filmmakers, but also the politics and culture of the era, changes in film technology, industry economics, new mature subject matter, and so on. In addition to this historical information, Nowell-Smith is also able to communicate vividly the ways in which so many films of this period felt newOverall, in addition to being a fine review, the book is filled with insights that transform received wisdom into a subtle and textured history. -- Christian Keathley, French Forum, 2009
Making Waves covers a wide-ranging number of film cultures from around the world ... This book is a most suitable primer for those new to the notion of new wave cinemas [and] particularly students of film -- Allister Mactaggart, Chesterfield College, UK * Cercles *