Abstract
Real revolutions, those that transform the lived structure of everyday existence, create their own time. New Wave and Rive Gauche films first invent a new kind of non-linear, disruptive temporality that then allowed a revolution, May ’68 in France. Evidence of this new time and new kind of future can be found in films from the era, notably in Godard’s À bout de souffle, and Resnais’ L’Année dernière à Marienbad. The 1968-era ciné-tracts, anonymous productions to which Marker and Godard greatly contributed, are examined as evidence of influence of the New Wave on May ’68, and as encouraging the spread of a collective and unconventional model of filmmaking.
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