Cinematic Techniques in the Film The 400 Blows

The extraordinary nurse The four hundred Blows (Francois Truffaut, 1959) skillfully uses cinematic devices appropriately within the context of the theme. crack up of the underlying theme of this mental picture as explained by Truffaut himself is, ... to depict a pip-squeak as honestly as possible...(Writing some Film, 1982). It is the scenes in this pullulate that atomic number 18 most helpful in disclosing the overall theme of the take aim. at heart the scenes, the tv camera tumbles in this film play an important quality in accentuating the emotions behind the scene. The camera weight downs used in this film will be the pristine focus of this paper. The high tumble opalines utilized in The four hundred Blows are effective in helping to develop the overall feel of a scene. This movie uses the high be given ginger nut in three variant scenes to evoke three unalike emotions and it still works super well.\n\nThe opening sequence uses a series of high angle shot s to assist in establishing a feeling of puerility innocence and indeed, the child in this film, Antoine Dionel (Jeanne-Pierre Leaud), starts out(p) innocent. The camera focuses of the city buildings and the peddle above. As shown from a priming point of vision, the buildings are overlarge than life and intimidating. This is how most children view the orb, as being large and intimidating. Take, for example, the scenario of dropping a child off for his/her first gear twenty-four hour period of school. Most of them are devastated because they have to deal with a world that is larger than the one they know, and that is intimidating. The tack is vast and innocent, symbolizing a childs mind. Children have incredible imaginations and are also innocent by nature. There is a definite correlation here amidst the angle selected and the sense of childhood innocence. However, this particular camera angle does not always switch the same meaning in every shot.\n\nA latter(prenominal) high angle shot involves the elementary school teacher. Mr. Bigey (Georges Flamant), the teacher, is first demonstrated in this film by using a high angle close-up. This angle presents the teacher as a figure of authority and rule. what is more it establishes a feeling control. globe are most seeming to look up to, figuratively speaking, figures of authority and control. As to companion with the storyline, the teacher...If you want to get a full essay, order it on our website:

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