Screening and Reading commentary The 400 blows (Francois Truffaut‚ 1959) Paper by Lucien Bourjeily After viewing “the 400 blows” one feels a very strong connection between the filmmaker and the subject of the film which turns out to be present even more than anticipated since the film is indeed semi-autobiographical and most of the events depicted in the film are directly inspired from Truffaut’s own troubled youth and
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Francois Truffaut Francois Truffaut was a film critic and director with his directorial career from 1954-1983. He was one of those who developed French New Wave. He derived his filmmaking styles from realism and he used the realistic techniques to film personal stories and stories about human relationships. That is why I decided to write about him. My favorite genres are drama and romance. And his style of films inspires me. I feel that the most significant characteristic of Truffaut films was
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Ryan Henderson ENGL 375 April 8‚ 2014 Professor Richard Homework Francois Truffaut wrote an essay titled “A Certain Tendency in French Cinema.” In this piece of work‚ Truffaut claimed that film is a great means for expressing the personal ideas of the director. He believed that this meant that the director should be regarded to as an auteur. Auteur Theory refers to the reflection of the director’s personal creative vision and style. “Auteur” is a French word for “author.” Auteur Theory suggests
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The French New Wave (La Nouvelle Vague) emerged in the 1950s as a core of articulate young film-makers. Amongst the most successful of the group were soon to be famous names such as Claude Chabrol‚ Francois Truffaut and Jean Luc Godard and to a lesser extent Jacques Rivette‚ Jacques Daniol-Valcroze and Eric Rohmer. All were critics for the influential film magazine ’Cahiers du Cinema’‚ where they worked under the guidance of film theorist and co-founder of ’Cahiers’‚ André Bazin. Intellectual
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until 1950’s where again France show emergence of young budding enthusiastic film directors who are regarded as the new wave‚ Nouvelle Vague‚ of cinema industry. This included among others‚ Jacques Rivette‚ Jean lucques Godard‚ Loius Malle‚ Francois Truffaut and Alain Resnais. This group of film makers believed that a filmmaker has possession of the film without interference from either studios or producers. This paper will discuss Partie de Campagne and Les Mistons.‚ two films made by two great French
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is augmented to create a world only vaguely like our own‚ and so on. The dichotomy though is only apparent. The over-all effect created by Truffaut shows Jules et Jim belonging more comfortably in the expressionistic domain; and‚ as we shall discover‚ devices which would normally—at least according to Bazin—deliver the effect of realism are utilised by Truffaut as tools of expressionism. In our analysis of Jules et Jim‚ rather than examine fleetingly the whole gamut of expressionistic techniques
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paradigm. Origins of the movement André Bazin‚ the founder of the famous film magazine Cahiers du cinéma‚ was a prominent source of influence for the movement. Prominent pioneers of the movement are François Truffaut‚ Jean-Luc Godard‚ Éric Rohmer‚ Claude Chabrol‚ and Jacques Rivette. Truffaut also credits the American director‚ Morris Engel and his film "Little Fugitive" with helping to start the French New Wave‚ when he said "Our French New Wave would never have come into being‚ if it hadn’t been
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Truffaut exercises here another trauma and memory of his childhood. A Persian boy who was already tormented by the trauma of Paris being occupied by the Nazi army. Truffaut here recognizes and pains himself through Les Mistons as a child of the war. Truffaut continues in an angry and playful way is portrayal of children as cinema creatures‚ through childhood‚ cinema and life deeply
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THE FRENCH NEW WAVE LA NOUVELLE VAUGE During the German occupation French cinema thrived‚ this was due to the protection given to it from foreign competition. When the war ended American films flooded into the French market‚ these films were greeted with great enthusiasm‚ as many were curious about all aspects of American culture. The Blums-Byrnes Agreement regulated the flow of foreign films in the French market. This agreement stated that French films could only be shown for 13 weeks
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2012. B. This critic directly looks at other critics and compares himself to them and adds views of his own on The 400 Blows. At first Truffaut postponed his implementation of trying and completing a film of this degree in his filmmaking career. He waited until more experience was given to him before starting. Here he describes how different critics looked at Truffaut and put emphasis on how relevant his film was to French culture. French filmmaking and American filmmaking are both reviewed‚ compared
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