University - Written Work

 University - Written Work

Apart from my Coursework project, the essays below in particular about French Surrealist Films showcase a wider variety of my work in the form of essay writing.

Realism is much more Powerful for the Spectator than the Expressive. (35 Marks)

To answer and apply the question above, the French New Wave Film (FNW) of The 400 Blows released in 1959 which portrays the realism and naturalism of living in Post WW2 France, whereas comparing the glitz, glamour and stardom of the Expressive film of Singin’ in the Rain released in 1952 which is considered a classic Hollywood production.

The Original French Surrealist and Experimental films of the early 20^th Century (1929-30) included films such as Un chien Andalou, which were widely considered to be hard to follow and understand, with it not allowing audiences to get a true feeling or understanding of the narrative, meaning audiences didn’t feel attached or a part of the film. These were then used later on as representation for directors to understand and learn about the problems and flaws with these films and why they weren’t successful. This was something that the films of the FNW such as The 400 Blows directed by young and upcoming star Francois Truffaut  wanted to rectify, with him being a part of a small group directors of the time, who wanted to create a realistic, grounded and believable films of what life was like in France Post WW2.With these challenging the classic Hollywood norm with them seeing the Camera as their pen and the director as the Artist. Whilst also challenging the classic Hollywood Narrative and Expressive films of the time. To keep the films grounded, realistic and true to the Narrative and to achieve a realistic look, feel which director Francois Truffaut in the case of the 400 blows for example, desired techniques such as longer takes, extended dialogue and the inclusion of diegetic sound were used. Whilst due to Low-Budgets, actors and scenes were often filmed in their own apartments instead of Studio’s to allow for a more realistic, believable, and convincing performances, due to actors feeling more relaxed and comfortable in their own surroundings. With films of the FNW being seen as a reflection of real life for many in Post WW2 as it gave directors the opportunity to give a voice to their Protagonists and a chance for audiences to view and be made aware of the social/political and cultural issues, away from their tradional, mainstream, expressive and escapism films. With Stuart Halls Representation Theory being most appropriate, and the Reflective approach in particular as it shows and represents what we see and hear is a reflection of real life, as if were holding a mirror to Society, which is someone not only the director Antione Truffaut wanted to achieve in The 400 Blows, but also in The French New Wave all together. As they were keen to challenge the Classic Hollywood Expressive films and move away from the French Surrealist/Experimental films of 1929/30.

Specific to the film/biographical drama of the 400 Blows, the director, Antione Truffaut, creates a believable and naturalistic tone and look by the inclusion of , Micro Elements such as Editing which were used in the form of Longer takes, to show and portray the feel and atmosphere of the scene and help translate that feeling to the audience. This technique was often used during sequences by which Antoine is bored, tired or alone, so audiences can react in a similar way and therefore feel more involved and attached to the story as we start to care and feel for Antione. In particular the Classroom Scene as it shows and creates a realistic and believable adaption of an actual classroom atmosphere. Whilst Elements such as extended dialogue, diegetic sound and a Linear Narrative were also used to help suit the norm, portray real life, and still challenge Hollywood. A Linear Narrative was not only used to challenge the Classic Hollywood, Expressive films such as Singin’ in the Rain but to also allow audiences to follow and understand the narrative unlike the French Surrealist films of the early 20^th Century but also help portray and create a Reflection of real life. Which in term allows us to see the development and change in Antoine. Additionally the use of handheld cameras allows us to stay on Antoine so we see and perceive the story through his eyes and perspective, such as when his parents argue as we only see his reaction to what he and us the audience hear or when he gets caught during class, so we feel more attached, Involved and invested in the story as if we are accompanying him on this journey. This is called a Restricted Narrative Viewpoint and only serves so we understand just as much as Antoine nothing more. With this being in term way more Powerful to the audience than the Classic Expressive films as we learn and feel more attached as if were experiencing his journey for ourselves, something which isn’t possible in Expressive films. This is important also due to the fact that we don’t need to his parent’s reaction whilst arguing, just Antoine’s as the story is based around him as we learn a lot more through this. With the camera being positioned at his height to make us feel more involved and immersed in his surroundings and situation.

With another vital Key Scene in the 400 blows is that of when, having stolen a Typewriter and sent to Correctional school, Antoine is questioned by a Psychiatrist. Significantly we never see her in shot as she isn’t important to the audiences viewing as we only ever hear as if from her Perspective. With the Cinematography of the Close-up Medium Shot being locked and framing Antione in the centre. The resulting effect being that we feel powerless to, as were unable to help him even though we feel sympathy towards him. This Stylistic choice helps communicate and construct a view of those who are Powerful and who isn’t as we understand the intent from the director to make Antoine look and feel small, vulnerable, and powerless. As from this scene we are able to understand and dive deeper into my Antoine is the way he is. As a result of the Close-up Medium Shot, we are put in the position of the Psychiatrist with this in term allowing us to judge and access him. From this get to know Antoine more and see his troubled, unfortunate past whilst still remembering he’s still only a kid and what affected him to behave the way he did due to nearly being Aborted and not feeling loved by his mother. Additionally, it’s important to also include that through glimpses of Antoine’s friends home lives that he isn’t alone and that he is more a reflection of children’s life in Post WW2 France. With it being hugely Powerful to the audience allowing us to invest our time and admiration into Antoine as we leave the Cinema feeling educated and left thinking about all the other children and what their lives must have been like. With this helping translate a stronger understanding message and idea that the director wanted to portray to us.

With Realism helping portray a message and teach the audience more about other people life’s and their daily experiencers compared to their own, which is someone rarely achieved and in term less powerful than the Expressive, Hegemony Films of Hollywood. As the Expressive acting as more as an escape from reality and not allowing us to fully relate, bond and connect with the characters and their situations. With the message being more grounded, realistic, and believable as the narrative and plot is told as it happens as a portrait, reflection of real life. With realism allowing directors and audiences to compare and accompany the Protagonists through their experiences. Otherwise the Message would become biased, non-naturalistic and distorted without making audiences aware or feel anything towards not only the 400 blows in particular but also the FNW and lives it was trying to portray as a whole. With this in term being vital as Young Directors such as Francois Truffaut wanted to be seen as challenging the Classic Hollywood and French Film norm.