In the final pages of Cinema 1: The Movement-Image, Gilles Deleuze detects a continuity in the voyage form from Italian Neorealism to the French Nouvelle Vague. He writes, “It is here that the voyage-form is freed from the spatiotemporal coordinates which were left over from the old Social Realism and begins to have value for itself, or as the expression of a new society, of a new pure present.” Among the examples Deleuze gives are: “the return journey from Paris to the provinces and from the provinces to Paris in Chabrol (Le beau Serge and Les cousins)”; the “wanderings which have become analytical instruments of an analysis of the soul,” such as in Rohmer's Contes Moreaux (Six Moral Tales, 1963–1972); Rivette's “investigation-outing” in Paris nous appartient (Paris Belongs to Us, 1961); and the “flight-outing” of Truffaut in Tirez sur le pianiste (Shoot the Piano Player, 1960), and Godard in À bout de souffle (Breathless, 1960) and Pierrot le fou (1965). In these films, Deleuze sees the birth of a new line of characters on the move, barely concerned by the events that happen to them, and who “experience and act out obscure events which are as poorly linked as the portion of any-space-whatever that they traverse.”