Filming techniques included fragmented, discontinuous editing, and long takes.
It argues that "cinema was in the process of becoming a new means of expression on the same level as painting and the novel ...One such tradition was straight narrative cinema, specifically classical French film.The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line.French New Wave is influenced by Italian Neorealism In a 1961 interview, Truffaut said that "the 'New Wave' is neither a movement, nor a school, nor a group, it's a quality" and in December 1962 published a list of 162 film directors who had made their feature film debut since 1959.Many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring at the well-known members of the New Wave and today would not be considered part of it.Truffaut, with The 400 Blows (1959) and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish.
Part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification.
The auteurs of this era owe their popularity to the support they received with their youthful audience.
Most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life.
The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Week End).
Also, these movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence.
Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement.