In making the film, Truffaut was aided by his longtime childhood friend Robert Lachenay as well as his Cahier du Cinema colleagues Alain Resnais and Jacques Rivette, both of whom also had aspirations of careers in filmmaking. He was interested in movies and he spent a lot of his study time on them. I can’t tell you how much I love revisiting these movies. ( Log Out /  Then the boy takes out a picture of a woman and passes it forward. The film marked another turning point for Truffaut. Truffaut shot the film on location in Reunion Island, as well as parts of Southern France, and casted Jean-Paul Belmondo and Catherine Deneuve, two of France’s biggest stars, in the lead roles.

By Barry Keith Grant. The cast included Albert Rémy and Claire Maurier as Doinel’s parents, Patrick Auffay as his friend Rene, and Guy Delcombe as Doinel’s cruel teacher. Through the pace of motion, Truffaut creates temporality at several layers. Greenspun, Roger. “Jules Et Jim by Henri-Pierre Roché — Review.” The Guardian.

This lens starts from a close shooting of a boy who is writing by his desk. Considering that Shoot the Piano Player was the antithesis of The 400 Blows, Truffaut knew that some would be upset by the fact he was attempting something different in tone and style. Antoine gets down from the shore and arrives at the beach. Though its critical reception would improve over the years, some saw the film as one of Truffaut’s weakest works. Decaë’s work helped to bring added weight Doinel’s quest to both gain acceptance from his family while coping with his own lost of identity.

Most significant of these scholars was Francois Truffaut who wrote an article that served as the touchstone for auteurism.
Within the scene, the existence of a bug crawling on the glass is a striking element standing out, “it’s a transcendent moment for film-something beyond story or plot that immeasurably enhances the film as cinema.” (Lloyd, 1999). Representing one of the earliest works of the French New Wave, Truffaut incorporated rather new and distinguishable features into the cinematography such as freeze frames and panning shots. Truffaut strongly criticized the “Tradition of Quality” theory, which was popular in France at that time.

Two years later, Truffaut made another short, Les Mistons, which revolved around a group of young boys in love with a beautiful woman.

At the age of eight, Truffaut saw his first film, Abel Gance’s Paradise Lost. The film explored the friendship between two men, the shy Austrian Jules (Oskar Werner) and the French Bohemian Jim (Henri Serre), who both fall for the same woman (Jeanne Moreau). http://www.lefigaro.fr/cinema/2010/09/03/03002-20100903ARTFIG00392-francois-truffaut-clap-de-fin.php. In this one-minute shot, Truffaut perfectly finishes a series of camera movement and the transition between characters.
It was around this time that Truffaut coined the “auteur theory”, believing that the director’s films reflect their personal creative vision. Critiques have questioned the basis for which a director would be recognized as “author.” Moreover, there have been concerns on whether the auteur is recognized more based on the creative aspects of the film or on the scripts, Eastwood's aim in his films is to tell stories of the human experience. Critics were far more favorable to the film and it gained a devoted following among cinephiles.

Making 21 feature films and 4 shorts from 1955 to 1983, there was no filmmaker during that period who explored ideas of love and youth better than he did. Then the camera gives tracking medium shot of Antoine till he arrives at the sea. Overall, Truffaut succeeds to meet the criteria of Andrew Sarris to pertain to his authorship.

He created a view of adult world through children’s eyes. https://mubi.com/topics/dc13-film-intro-lenfance-nue-dir-maurice-pialat-1968.

Revisiting the opening quote of this essay about movies, “Jules et Jim” is “an act of love”. Web. Nolan, The auteur theory was introduced in the film industry in 1954 when Francois Truffaut claimed that directors are significantly using their films to express their personal ideas (Thompson and Bordwell 33). Namely, the French director meets the second criteria, uniquely to his style.

Truffaut bleef films maken tot aan zijn dood op 52-jarige leeftijd.

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