The film is of my father walking through rural areas outside of my hometown, before sitting down on a bench within a park. This footage is accompanied by the song Wonderful Land, performed by 1960s, British, instrumental rock band, The Shadows.
In order to create my film to be as accurate to British new wave cinema as possible, I made sure to use as many possible techniques that are in favour of such a style. For example, using natural lighting was very common throughout entries in the genre, and so, I did not use any external lighting sources whilst filming, relying only upon the light that the camera and daytime provided.
Although the footage was all filmed in colour, during the editing stage, I changed it to appear in monochrome, as it made the British new wave aesthetic even more prominent. Despite some films of the genre having been filmed in colour - such as Tom Jones (1963) and Alfie (1966) - it seemed wise to follow the colouration of the majority of British new wave instalments, many of which few people today will be familiar with.
To further relate to the period of filmmaking at hand, all the shots contained within the film are long, and progress from one to another through jump cuts. Such cinematography was commonplace in this genre, as the long shots helped to mesmerise the audience, whereas the jump cuts worked to make the audience remember that they were watching films.
All of the shots were filmed with a basic camera attached to a simple tripod. This is in keeping with British new wave films, as they were produced using very little equipment, and cameras were either held by hand, or fixed onto cheap support stands.
Essentially, most films of the new wave genre, regardless of their country of origin, have a visual, static effect to them, due to the cameras used to film them being cheap and underdeveloped. Therefore, although my film was not recorded with any camera that would cause such an effect, I did apply a similar texture during the editing stage, in order to capture the same aesthetic.
