The 400 Blows

The 400 Blows is a great film. It is a testimony to Francois Truffaut’s greatness. This is a film about a young French boy that has a troubled childhood. He was a rebel of sorts. He got in some trouble in the classroom and out of the classroom. He wasn’t necessarily more troublesome than any other kid during that time. I think he is misunderstood and put in difficult situations. This French Film Noir had music, scenery, and a unique freeze frame that made this film great. Music added to this film

MSS2CFI – Blog Posts Brittany Wong The 400 Blows “The 400 Blows” is classified as a French New Wave film because of the cinematic techniques utilised. The film is shot on location on several city streets, as well as the rural location of the reform school in the latter part of the film. This heightened the sense of life and culture in Paris, giving the French viewers a deeper connection with the film by allowing them to relate to the story and characters. Opposed to being shot in a constructed

François Truffaut’s The 400 Blows (1959). Hollywood produced films of the time used a very limited variation in film techniques such as camera, acting, mise-en-scene, editing and sound. This can be mainly attributed to the low innovative thought of creative and expressive camera movements, angles, etc… due to technological hindrances. In particular, this film analysis will de-construct the filmmaking elements of the revelatory French New Wave movement in Truffaut’s The 400 Blows ending scene (01:34:42

eras in the history of cinema. Spurred as a result of major shifts in economic, social and technological norms within post-WW11 France, the New Wave conceived a renewed mode of expression across various creative industries. Francois Truffaut’s The 400 Blows (1959) and Jean-Luc Godard’s Breathless (1960) are two films, which despite major disparities, would go on to exemplify integral characteristics of the movement in the following years. Perhaps, the best way to truly appreciate the fervor of New Wave

and his science master piece in Fahrenheit 451. An example of this is that they will wind up in the last saga Love on the Run and Antoine will become a writer at the end. The Story of Adele H is related to the personal diary of Adele Hugo. In The 400 Blows, everything

“lyrical but wholly unsentimental account of an adolescent delinquent, shot on location in Paris” (Cook, 352). The French New Wave was all about freedom and how it should seem personal. The 400 Blows does just that by telling us a story about a boy “coming of age.” As part of the New Wave, for The 400 Blows, the movie was not only shot on location, but natural lighting was used to give the movie a realistic film. In addition to this, many producers/directors during this time used mobile cameras

The 400 Blows is a French New Wave film made in 1959, directed by François Truffaut as his debut feature film. The film focuses on the trials and tribulations of a young adolescent named Antoine Doinel played by Jean-Pierre Léaud, who is growing up in Paris during the early 1950s. While trying to find freedom from the craziness of life, Antoine is faced with overcoming loneliness and the harsh consequences on his unexplained actions. Inspired by Truffaut’s personal life, the director expresses

Cinematic Techniques The extraordinary film The 400 Blows (Francois Truffaut, 1959) skillfully uses cinematic devices appropriately within the context of the theme. Part of the underlying theme of this movie as explained by Truffaut himself is, “... to portray a child as honestly as possible...”(Writing About Film, 1982). It is the scenes in this movie that are most helpful in disclosing the overall theme of the film. Within the scenes, the camera angles in this film play an important role in

In Andre Bazin’s essay, “The Ontology of The Photographic Image”, he argues that one of the defining characteristics and inherent motivations in the production of art and artifacts, be it the mummification of Pharaohs, portraits of Kings and Emperors, is the ‘preservation of life by a representation of life’ (Bazin 238). He elaborates that at the heart of the plastic arts, such as painting and sculpture, is a need to make immortal the mortal and to turn the image of our flesh into clay, steel and

filmmaking, storytelling, and the portrayal of cities like Paris. Jean-Luc Godard's "Breathless" ( bout de mousse) and François Truffaut's "The 400 Blows" (Les Quatre Cents Coups) stand as iconic examples of this movement, each offering a unique perspective on the urban landscape and its relationship with the characters inhabiting it. While "Breathless" and "The 400 Blows" differ in narrative style and character exploration, they both share a profound vision of Paris as a character in its own right. Through