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[The 400 Blows was] an elaboration of what the French New Wave directors would embrace as the caméra-stylo (camera-as-pen) whose écriture (writing style) could express the filmmaker as personally as a novelist’s pen. As a teen, he found a mentor in the critic Andre Bazin, and later dedicated The 400 Blows to him.

As Arlene Croce wrote on the film’s triumphant American release, “The 400 Blows is a film about freedom” (1). The film’s characters and incidents were based on the early life of it director. Like Doinel, Truffaut was raised in a petit bourgeois milieu, with a distant mother and a father who was not his real father.

Going to the themes of “The 400 Blows”, there’s friendship, family, education and childhood that can be found in this film. Furthermore, the central themes that are to be found in this film are escapism, mischief, discipline, injustice and disobedience or noncompliance.

Truffaut, with The 400 Blows (1959) and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world’s attention to the activities of the New Wave and enabled the movement to flourish.

The French New Wave emerged out of a hungry post-war France. Salivating for culture and left only with mainstream media that felt trite and contrived, French critics and film lovers began experimenting with different filmmaking techniques.

The French New Wave reinvigorated cinema and gave a voice to the voiceless. The movement proved that great films can be made outside of the studio system with extremely low budgets.

As its name suggests, the tradition of quality was a cinema of ‘quality’: these middlebrow films were often based on prestigious French literature and exhibited high production values; the sets and camerawork are impeccable, and the accomplished actors were often taken from ‘respectable’ theatre, such as the Comédie- …

The New Wave (in French, La Nouvelle Vague) is a film movement that rose to popularity in the late 1950s in Paris, France. The movement aimed to give directors full creative control over their work, allowing them to eschew overwrought narrative in favor of improvisational, existential storytelling.

The French New Wave pioneers pushed the limits of cinema technique. In Godard’s special use of the jump cut—where time passes with each successive cut—the space between the cuts suggests a wealth of information. This technique has influenced directors for decades.

An auteur (/oʊˈtɜːr/; French: [otœʁ], lit. ‘author’) is an artist, usually a film director, who applies a highly centralized and subjective control to many aspects of a collaborative creative work; in other words, a person equivalent to an author of a novel or a play.

Tarantino is able to produce significantly different and unique films each time he produces one while still maintaining common threads throughout, which not only elevates his status as both an outstanding director, screenwriter, and producer, but as an auteur as well.

Tarantino is well known for his use of realism and his diverse ethic of how his films may seem to his audience. As an artist, Tarantino combines his landscapes, music, shots and other key elements that with his thriller genre successfully portray his true auteur style films.

Steven Spielberg is a true auteur when it comes to directing films because of his amazing craftsmanship. His cinematic style helped usher in the age of the blockbuster.

Martin Scorsese is one of the few New Hollywood directors who have consistently made auteur commercial feature films up to the present. Since his earliest days as a director, he has negotiated between artistic autonomy and commercial demand.

In the 1970s, he created his own scruffy persona in the “Dirty Harry” films – and a reputation that went with it. But when he came to Cannes in the ’80s with “Pale Rider” and “Bird,” his film on the jazz great Charlie Parker, he became an American auteur.

George Lucas

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