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法国《电影手册》的立场和倾向曾吸引了一大批年轻的电影爱好者、批评家和导演,他们的身份有时候是含糊不清的。有的人既是编辑和撰稿人,又是广受瞩目的新进导演,他们的作品在《电影手册》上被评论,然后得到更多的反响。其中就包括戈达尔、特吕弗、侯麦和夏布罗尔。他们可以说是战后法国最重要的电影导演,依靠他们或晦涩或清新的作品享誉全球。巴赞宣称:“电影是现实的渐近线,”电影与戏剧实行了决裂。没有故事,从来不曾有过故事。只有无头无尾的情境,既无开始,又无中段,也无结尾。只有生活在银幕上流动。正如后来积极实验巴赞理论的戈达尔所说:“新浪潮的真诚之处就在于很好地表现了所熟悉的生活、事情,而不是鳖脚地表现不了解的事情。”虽然,巴赞对德·西卡的新现实主义电影同样推崇备至。特吕弗也是巴赞理论的追随者,而巴赞也不遗余力地对其大张旗鼓地推荐,《电影评论》对特吕弗的赞美让后者很快在戛纳电影节上大放异彩(他凭借《胡作非为》获得1959年戛纳电影节最佳导演奖)。所以,有人也将“新浪潮电影”称之为“电影手册派”。
The French filmbook's position and tendencies have attracted a large group of young film lovers, critics and directors, whose identities are sometimes vague. Some are both editors and copywriters, as well as newly attracted directors, whose work is commented on in the Film Handbook and then received more repercussions. Among them are Godard, Truffaut, Houma and Shabrol. They can be said to be the most important French film directors of the post-war, relying on them or obscure or fresh works world-renowned. Bazin declared: “The movie is an asymptotic line of reality,” and the movie and the theater broke. No story, no story ever. Only the situation without head and tail, neither start, nor middle, no end. Only living on the screen flows. Just as Godard, who later experimented with Bazin's theory, said: “The new wave of sincerity is that it shows well what we are familiar with, not what we are doing.” “Although, Barzan equally respected de Sika's neo-realist films. Truffaut was also a follower of Bazin's theory, and Bazin also spared no effort in recommending it with great fanfare. The tribute of Film Review to Truvall soon made the latter shine at the Cannes Film Festival (with ” Hu Zuofei as “won the 1959 Cannes Film Festival Best Director Award). So, some people also call ”new wave movie “ called ”movie manual school ".