Reasearch Articles
First Article
A. Neupert, Richard. “The Musical Store As Closre Device in The 400 Blows.” Film Criticism 14.1 (1989): 26-32. Academic Search Complete. Web. 6 Dec. 2012.
B. This criticism studies the musical motifs and structures within The 400 Blows. The inclusion or presence of a musical reappearance shows the people watching a closure to the film. It recaps the whole film and ties together the theme and movements that developed over the course of the film. Overture or the approach of music gives the viewers a selection of emotional music to bring in the viewer’s emotional side into the film. The film’s final scenes recall music used in the film before and reveal to the viewer the function of this particular song and how it ties in to the scene either emotionally or characteristically ect. Use of a repetition of music at the film’s ending establishes a musical ending expedient which ties in all motifs of the film to tie in with the current timing of the film.
C. http://0-search.ebscohost.com.lasiii.losrios.edu/login.aspx?direct=true&db=a9h&AN=83551141&site=ehost-live&scope=site
Second Article
A. Turner, Dennis. "Made In The U.S.A.: The American Child In Truffaut's 400 Blows.” Literature Film Quarterly 12.2 (1984): 75. Academic Search Complete. Web. 6 Dec. 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, and criticized for different aspects. In The 400 Blows characters were not made to be more sympathetic then others but on the same level as each other.
C.
A. Neupert, Richard. “The Musical Store As Closre Device in The 400 Blows.” Film Criticism 14.1 (1989): 26-32. Academic Search Complete. Web. 6 Dec. 2012.
B. This criticism studies the musical motifs and structures within The 400 Blows. The inclusion or presence of a musical reappearance shows the people watching a closure to the film. It recaps the whole film and ties together the theme and movements that developed over the course of the film. Overture or the approach of music gives the viewers a selection of emotional music to bring in the viewer’s emotional side into the film. The film’s final scenes recall music used in the film before and reveal to the viewer the function of this particular song and how it ties in to the scene either emotionally or characteristically ect. Use of a repetition of music at the film’s ending establishes a musical ending expedient which ties in all motifs of the film to tie in with the current timing of the film.
C. http://0-search.ebscohost.com.lasiii.losrios.edu/login.aspx?direct=true&db=a9h&AN=83551141&site=ehost-live&scope=site
Second Article
A. Turner, Dennis. "Made In The U.S.A.: The American Child In Truffaut's 400 Blows.” Literature Film Quarterly 12.2 (1984): 75. Academic Search Complete. Web. 6 Dec. 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, and criticized for different aspects. In The 400 Blows characters were not made to be more sympathetic then others but on the same level as each other.
C.