The 400 Blows: An Expression of a Cinematic Revitalization

The 400 Blows: An Expression of a Cinematic Revitalization The 400 Blows directed by Francois Truffaut is an iconic film of the late 1950s that refined French cinema and helped spark a cinematic revolution known as the French New Wave. A touching story about a young adolescent growing up in Paris named Antoine Doinel, the film artfully captures the unfortunate circumstances of the troubled boys life and his tragic spiral into a life of transgression and crime as a result. Misunderstood by both his mother and stepfather at home as well as tormented at school by his ruthless teacher, Antoine finds himself seeking to escape such environments in search of a place where he feels he belongs. Initially conducting small acts of defiance like writing on the classroom wall, Antoine slowly progresses into more delinquent behavior as he begins skipping classes and later to stealing a typewriter. Outraged by his behavior, Antoines parents send him to a reform school. From there, Antoine finally makes a break for freedom and gets away from all that had tr oubled him as he makes his way to the shores of a beach. Altogether, the inspiring film illustrates a captivating cinematic theme of how an absence of understanding and loving parents and a lack of fair treatment at school can make young boys susceptible to acts of mischief and delinquency as a consequence. More important than this engaging element about the film, though, is the fact that the foundation of the films praise primarily stems from its representation of revolutionary French New Wave ideas. Such ideas included the development of films that portrayed artistic expression, captured real life spontaneity and authenticity, expressed genuine emotion, elicited critical thinking in the viewers, and much more (Csà ¶lleovà ¡ and Formà ¡nek). The 400 Blows exemplifies three key characteristics of the French New Wave through its inclusion of various innovative film techniques, through its illustration of a realistic and philosophical storyline, and through its utilization of an un conventional plot layout. One of the first qualities about the film demonstrating characteristics of the French New Wave is that it consists of an assortment of creative filming techniques such as the long take, jump cut, and on sight shooting. To begin, there is one notable instance throughout the film which uses the newfound technique of the long take; a shot that films a scene for a long period of time (Film Glossary). An account of this technique can be seen through the running in Paris scene with the gym teacher. As the teacher and the boys run through the streets of Paris, the camera pans from a higher, wider view, and captures the Paris cityscape of the time as the boys sneakily run away from the group into buildings and alleyways. As a whole, this shot spans for roughly one minute and thirty seconds and allows the film to direct the viewers attentions towards significant narrative elements. In this case, this technique really helps to capture the liveliness of Paris during the 1950s for the viewers th rough its detailed and elaborate visualization of Paris architecture, buildings, bustling streets, etc. The long take in this example helps to define the progressive cinematic uniqueness that French New Wave filmmakers were striving for, specifically, for enabling realism in filming in order to make audiences feel more involved and part of the film. In addition to the unfamiliar use of the long take, is the incorporation of the jump cut in the film. In short, the jump cut is a technique that involves a sudden transition from one scene to the next (Film Glossary). An occasion when some jump cuts are used in the film is during the scene in which a psychologist asks Antione a series of questions while he is at the academy. In this scene, Antoine simply answers the questions that the psychologist asks and provides details about his early life and the happenings that took place. Interestingly, the viewer does not get a glimpse of the psychologist at all but only sees Antoine answering th e questions. Throughout the interview, there are roughly four jump cuts that are integrated into it. After almost each question that the psychologist asks, there is a sudden change in the scene that occurs as it shifts into the next question as if the interview was broken up and edited in some parts. The use of the jump cuts in this instance enables the film to reel in the audiences attention with the scene and with the film collectively. In a sense, this technique helps to gather the viewers attention with Antoine and his character on a deeper and more personal level so that the audience gets a better glimpse into Antiones world and his situation. Overall, the use of the jump cut from the film helps signify French New Wave filmmakers cinematic push away from typical continuous and easy flowing films of the time to a refreshed and strange exhibition of discontinuity or jaggedness in films. Finally, the last significant filming technique in the film that represents French New Wave id eas is shown through the fact that the film is actually shot in multiple locations of Paris. There are multiple instances throughout the film in which on sight filming takes place. Such instances are expressed in scenes that show the city streets of Paris, that show Antoines small home, that show the school, and that show the shores of the beach towards the end of the film. The use of filming scenes in real locations is a major component of French New Wave ideas because French filmmakers wanted to attempt making films that were more natural and accurately depicted the real world as much as possible. The 400 Blows definitely showcases naturality and realness because of it being filmed in parts of Paris instead of using other non-realistic methods like backdrops, stages, etc. to indicate specific locations. Another instance of how the film exhibits aspects of the French New Wave is through its expression of an authentic and thought provoking story line which utilizes a realistic representation of characters as well as invokes relatability or self-reflectivity in the viewers. To begin, The 400 Blows presents realistic and ordinary characters throughout its storyline instead of using fictitious or mythical individuals. An example of this can be demonstrated through Antoines character. Antoine is a rebellious fourteen-year-old teenager who lives a simple life in a small apartment with his mother and stepfather and attends school, nothing for which is over fantasized, exaggerated, or unlikely for the life of an adolescent. Like many children his age, Antoine is not perfect and has his own flaws. He occasionally fools around in class and gets into trouble with his teacher by writing on the walls or not doing his homework, he disobeys his parents at times by lying or running away when he disa grees with their rules, he has a difficult time listening to authority and doing what he is told, he steals things multiple times, and much more. There is not much about Antoines life that one would find unbelievable or unrelatable to in some way. Due to the depiction of Antoines practical life and character, the storyline throughout the film becomes more credible, interesting, and thoughtful for viewers because of the sincere portrayal of human normalcy and complications throughout the film. The realistic character usage in the film, in turn, also helps to conjure up relatability or self-reflectivity in viewers which makes the storyline more philosophical and meaningful as a result. To expand, the film showcases the feelings, struggles, actions, difficulties, etc. of not just one character but of multiple characters. First, is a mother who struggles with her relationship with both her son and husband at home. Second, is a son who struggles with problems at home and at school. Next, is a teacher who struggles with disobedient and troubling students. In essence, the film forms realistic stories about the lives of many characters which can encourage the audience to draw similarities from their own life with the events and circumstances from either a specific characters life from the film or the story in general. Thus, these realistic and relatable qualities about the film allow for a meaningful and philosophical viewing experience for the audience. Lastly, a final example of the film featuring elements of the French New Wave is through its usage of an unorthodox plot setup which contains choppy or seemingly random scenes as well as an unresolved resolution. To clarify, most films have plots that connect specific events, actions, etc. for viewers. That is, the plot should give flow to a films story and make the viewer feel as if events are all connected and not just randomly thrown into the film. However, one might say that The 400 Blows presents a less systematic and clear-cut plot setup than what most films usually did during the time. For instance, throughout the film there are countless scenes that simply display Paris landscape and cityscape or what seems like just random bits of footage with characters that do not add to the plots purpose or connect anything specific about the film. Scenes like these include when Antoine catches his mother kissing a man who is not his father as he skips school, the running in Paris scene w ith the gym teacher and students, when Antoine and Rene run down the steps of the Sacrà ©-Coeur, when Antoine and Rene run around town just after stealing the typewriter, when Antoine makes a cigarette while in his prison cell, and more. These scenes do not necessarily explain certain events in the story or add to the plot for any particular reason or purpose, but rather, seem to be there for more artistic filming reasons or for no true reason at all. The inclusion of scenes that do not have a definitive purpose or add to the plot for any specific reason may make the film feel choppy at times. Nevertheless, the seemingly choppy and spontaneous plot feel that the film conveys is another aspect that French New Wave filmmakers were seeking because it went against the usual organized and directed plot of most films of the time. One last obvious example of the films illustration of a different plot layout, is through the fact that the film has an unresolved resolution. Unlike most films of the time, The 400 Blows does not have a plot layout that provides a sense of clarity for the viewer at the end of it. During the end of the film, the viewer watches a pivotal climatic moment as Antoine escapes the academy. As he runs as fast and as far as he can from the academy personal, Antoine makes his way to the shores of a beach. While there, Antoine runs up to the ocean and touches the water with his feet and then turns to the camera where the scene abruptly ends. Ultimately, the viewer is left with no definitive conclusion or resolve to Antoines story. The ambiguous ending left in the film is a striking presentation of French New Wave ideas because filmmakers from the time wanted viewers to think more critically about the films they watched and decide for themselves what they felt the ending might be. All in all, the film encompasses a wide array of French New Wave ideas that can be seen in multiple ways. First, is through the films usage of an atypical plot layout. Having artistic and non-specific scenes that dont necessarily relate back to the storys plot as well as having an open-ended conclusion, the audience is left to philosophically think about and consider the film more in depth during and even after the film. Next, is through the films depiction of a realistic and thoughtful storyline. With the use of a relatable and realistic storyline in addition to seemingly average characters, the film allows the audience to make introspective and personal connections between themselves and with the film and the characters that play in it. Lastly, is through the films incorporation of inventive filming techniques. Techniques such as location shooting, the jump cut, and the long take, all help the audience experience the film in a more natural and realistic way so as to make them feel more part of the film. Ultimately, The 400 Blows is a unique film because through all of these French New Wave characteristics found throughout it, the film serves as an expression of a cinematic revitalization in filming. Works Cited Csà ¶lleovà ¡, Eva, and Và ­tek Formà ¡nek. French New Wave Nouvelle Vague: Revolution in Film Industry. United Film, Ministry of Culture, 2016, www.unitedfilm.cz/unitedvision/index.php/en/articles/item/438-french-new-wave-nouvelle-vague-revolution-in-film-industry. Film Glossary. Provided by the Brooklyn College Film Department, Brooklyn College, 2017,  Ãƒâ€šÃ‚   http://userhome.brooklyn.cuny.edu/anthro/jbeatty/COURSES/glossary.htm#name48. The 400 Blows. Directed by Francois Truffaut. Les Filmes du Carosse. The Criterion Collection. 1959. 123 Movies. www. 123movies.gs/film/the-400-blows-4084/ Interprofessional Working in Social Work | Essay Interprofessional Working in Social Work | Essay Critically evaluate the strengths and weaknesses of interprofessional working within social work Introduction During the last thirty years there has been a lot of debate over community care. Policy in the 1970s and 1980s brought significant changes to services for people with disabilities, people with learning disabilities, and older people (Kirk, 1998). Many institutions were closed due to financial constraints and care was increasingly focused on the community. In 1988 the Government commissioned the Griffiths Report (1988) which advised that local authorities should be enablers, organizing and directing community care. Local authorities would have budgets with which to purchase care from the private and voluntary sector. The 1990 NHS and Community Care Act established that provision of care was no longer the sole responsibility of the state. Care packages would be organised by local authorities with input from voluntary and charitable organisations. Care packages generally consist of one or more of the following; provision of services in a person’s home, residential care, respite care, day care and family placements, sheltered housing and group homes and hostels. The introduction of the 1990 Act increased the burden of care for the social work profession who had to make initial assessments and then refer clients to the appropriate services. This meant that social workers who had previously been quite autonomous in their practice (Challis, 1991). The introduction of new working practices and the necessity for a greater degree of inter-professional working has meant that this autonomy has been increasingly eroded. This paper will examine the strengths and weaknesses of inter-professional working for social workers in the health arena. Since the introduction of the 1990 Care in the Community Act legislative and policy requirements have focused on health and social care agencies working collaboratively with service users and in July 2005 the Government produced a white paper on the delivery of integrated health and social care.[1] The main thrust of this paper is to establish effective inter-professional working and the means of evaluating working practice. This is probably in response to the fact that much of the literature concerned with inter-professional working concentrates on the difficulties surrounding successful working relationships between people of different professions and how these problems might best be resolved (Molyneux, 2001). Molyneux’s (2001)[2] research into successful inter-professional working established three areas that contributed to the success of such partnerships. Staff needed to be fully committed to what they were doing and personal qualities of adaptability, flexibility and a willingness to share with others were high on the agenda. Regular and positive communication between professionals was seen as endemic to good working relationships and service delivery. This communication was enhanced (in the study) by the instigation of weekly case conferences which allowed professionals to share knowledge and experiences (2001, p.3). Creative working methods, where professionals responded to what was happening in non-traditional ways was also seen as a crucial element of good inter-professional relationships. In order to be able to work successfully across professional boundaries people need to be confident of their own professional role in order to be able to step outside their professional autonomy and work successfully with others. It helps in inter-professional working if all members of the team are particularly focused on the needs of the service user. In this way people reach ‘professional adulthood’ (Laidler, 1991). Hudson (2005) found in his Birmingham study that inter-professional working went well provided it was based on a parity of esteem, mutual respect and a re-orientation of professional affinity i.e. team members first loyalty was to the team rather than to their individual professional bodies. Hudson also identified communication between members and creativity in working patterns as vital to effective inter-professional working. While Hudson (2005) maintains that there are grounds for optimism as to the future of inter-professional working, he nevertheless po ints out that it is not always easy. In some areas such as acute services, mental health services or services for older people inter-professional working can be problematic because it is not always easy to decide where one set of professional responsibilities end and another begins. These areas, along with learning disabilities, reflect tensions in integrated working because it poses a threat to established practices. Peck and Norman (1999) found that mental health professionals working within teams were reluctant to obey decisions taken by others because it threatened their own professional judgement. It does not help matters when the Government stresses the need for inter-professional working and then sets separate performance targets, rather than integrated group ones. At the same time as it emphasises collaborative working the Government is now intent on prioritising choice and competition and this leaves professionals with an unstable infrastructure (Hudson, 2001). As Hudson ar gues: It would be a cruel irony if, having achieved the holy grail of local integrated working, the government, with Sedgefield’s local MP at its head, now puts in place measures that result in its dismantling (Hudson 2005 no page number).[3] Conclusion Clearly the issues surrounding inter-professional working are not clear cut for social workers. They have lost the professional autonomy that they had in the past and it would seem that some professionals in other areas of social care also find the issues problematic. Clearly professionals from all filed, including social work, do their best to comply with legislation and policy and to collaborate with other professionals. If the goalposts were not consistently shifting in Government discourse then the problems associated with inter-professional working may eventually be ironed out. References Griffiths Report (1988) Community Care; An Agenda for Action, London: HMSO Hudson, B. â€Å"Grounds for Optimism† Community Care December 1st 2005 Kirk, S. 1998 â€Å"Trends in community care and patient participation: Implications for the roles of informal carers and community nurses in the United Kingdom† Journal of Advanced Nursing Vol 28 August 1998 Issue 2 p.370 Laidler, P. 1991 â€Å"Adults and How to become one† Therapy Weekly 17 (35) p.4 Molyneux, J 2001 â€Å"Interprofessional team working: What makes teams work well?† Journal of Inter-professional Care 15 (1) 2001 p.1-7 Norman, I and Peck E. 1999 â€Å"Working together in adult community mental health services†: An inter-professional dialogue† Journal of Mental Health 8 (3) June 1999 pp. 217-230 http://www.dh.gov.uk/PublicationsAndStatistics/PressReleases/PressReleasesNotices/fs/en?CONTENT_ID=4116486chk=zOTHS/ 1 [1] http://www.dh.gov.uk/PublicationsAndStatistics/PressReleases/PressReleasesNotices/fs/en?CONTENT_ID=4116486chk=zOTHS/ [2] Molyneux is a social worker who was part of the inter-professional team on which the study was based. [3] http://www.communitycare.co.uk/Articles/2005/12/01/51988/Grounds+for+optimism+.html?key=BOB+HUDSON accessed 4/4/06

Essay : Witness (Film by Peter Weir) Essay

The film, Witness, deals with characters in conflict with the world around them. Discuss the methods Weir uses to convey this idea of conflict. In Peter Weir’s film, Witness, several characters come into conflict with their environment. This is evident through the use of various techniques such as symbol, camera angle, and imagery. Samuel’s protective life as a child in the Amish community is corrupted when he comes into contact with crime and the city and experiences a loss of innocence. By contrast, John Book faces many obstacles when he leaves his life in the city for that of the sheltered life of the Amish and suffers turmoil when he falls in love with Rachel, who comes from a world in which he cannot belong. Similarly, the corrupt policemen, McFee, Schaeffer and Fergie find obstacles when they enter the world of the Amish, looking for Book. When Samuel is brought into Philadelphia it quickly becomes obvious that he is in conflict with the environment around him and we witness his loss of innocence at the railway station. Weir uses sound and camera angle as a method of showing Samuel’s confusion. From low angle shots, viewers can identify with Samuel’s perspective and can appreciate his confusion, noting that all the child can see is people from their midriff down, walking past in all directions. Weir also portrays Samuel’s confusion by having many people talking at once, thus creating contrast between the buzz of a city and the peacefulness of his home. The director uses cinematography well in this scene. Samuel’s conflict is evident when he is confronted with a huge statue. The camera slowly tilts upwards from a low angle until he can see right to the top; he is clearly not used to seeing something of this size. Aside from creating a vulnerability in Samuel, this contrast in size reveals his unfamiliarity with his surroundings, evident by the expression of awe on his face of wide-eyed innocence. The next shot is a bird’s-eye view from the top of the statue, it shows Samuel, who is dressed differently to the rest of the crowd, standing still, in sharp contrast to the constantly moving bustling city crowd. The look on Samuel’s face when he thinks he sees one of his own people is that of excitement and comfort and his disappointment is evident when, after running up to this man, he discovers that he is not an Amish, but an Orthodox Jew. His mother is aware of the dangers of this  strange world and is keeping her eye on Samuel until he wants to visit the toilet. When Samuel walks into the men’s toilets, the man washing his hands (who is later murdered in front of Samuel) turns around and gives the boy a friendly smile. He then walks into a cubicle. As this happens two men walk into the bathroom, McFee and Fergie. Mcfee nods to his partner then puts a bag over the head of the man washing his hands. The next few shots splice between Samuel’s eye peering out of the cubical in utter horror and the murderers slashing this man’s throat. This intricate camera work stresses the fact that Samuel is watching and his shock reinforces the clash in the two cultures–the violent city versus the pacifist ways of his Amish community. It is in this scene that Samuel’s life is changed forever, as he witnesses this man’s bloodthirsty murder. Viewers no longer witness an innocent child, but a boy using all his wit in his fight to survive. The scene where Rachel returns the hidden gun to Book, presents the clash of these two cultures, through the use of images and film techniques. We first witness Rachel with her back to the camera, at medium range, washing dishes–a true domestic scene. She turns as John Book enters and laughs. Viewers are then shown just how out-of-place Book is in her community, evident when we see him in her dead husband’s Amish clothes that are far too small for him (a symbol that he cannot fit into Rachel’s world, and in particular, as her husband). The camera reveals his embarrassment as it tilts to his bare ankles and then we see and hear Rachel laughing, but trying not to in empathy for Book. When Book asks for his gun, the laughter on her face vanishes.. The composition of this frame shows John looking ridiculous in clothes that are far too small for him, in contrast to the juxtaposition of Rachel looking very comfortable and laughing at how he looks. This is split right down the middle by a doorframe, which also show John’s conflict with the Amish community. Next John asks for his gun because he needs it to go to the town. Her facial statement goes absolutely dead serious and she gets it from the cupboard. She picks up the gun by the handle with her index finger and thumb with the rest of the gun dangling below. Once she handed the gun to him, he asks for the bullets that Rachel has forgotten, which she gets out of the flower jar that she has kept them in. Her change in facial statement shows her conflict to guns and the use of  guns. Her intriguing way of holding the gun displays that she thinks of them as dirty and forgetting the bullets shows her lack of knowledge about guns. Altogether this is a very uncomfortable scene toped off by leaving the bullets in the flower, flower being a symbol of life and bullets being a symbol of death. When McFee comes to get John it is very clear that he is in contrast with his surroundings through script, sound effects, character costume and cinematography. Narcotics agent McFee tries to cut off John Book by going around the back of the barn and as he does this, he steps right into a pile of dung. His curses are in sharp contrast to the Pacifist ways of the Amish. McFee is wearing a very smart suit, carefully picked to contrast to the Amish’s simple clothes. This difference is exaggerated when he steps in the dung showing just how out of place he is.

Marlowe’s Presentation of the Gothic Protagonist Dr....

In Christopher Marlowe’s ‘Dr. Faustus’, Faustus is presented as the Gothic protagonist. Typical features of a Gothic protagonist include things such as: being ambitious, have an inability to make decision and they are typically easily persuaded amongst others. Marlow does present Faustus as someone with these features; however Faustus does not have all of the features of the ideal gothic protagonist. Faustus is an ambitious character. In the first Chorus he is compared to Icarus as â€Å"his waxen wings did mount above his reach†, much like in the story of Icarus whose waxen wings melted when he believed he could fly away from Crete and reach the sun due to his high ambition. This also shows that Faustus is self-conceited because he believes†¦show more content†¦For example, he wishes to â€Å"make swift Rhine circle fair Wittenberg† and â€Å"make the moon drop from her sphere†. This is typical of the Gothic protagonist because they typically wish to achieve that of the impossible, and something that only God would be able to do, which traditionally leads to their downfall. However, although Faustus possesses great ambition, he lacks the sympathetic characteristic of Gothic protagonists. This is because he â€Å"despairs in God† and turns to â€Å"trust in Beelzebub†. This would have been as shocking to an Elizabethan audience, the time in which the play was written, as the audience would have been part of a Protestant Christian community, and atheism would have been greatly frowned upon and atheists would have been scorned. To the modern day audience atheism is generally accepted by many people and has become more common, however turning to the devil can still be considered greatly shocking and as this is undoubtedly one of the centrifugal points of the play, Faustus will lack sympathy from the audience; even a modern one. A further characteristic that Faustus displays which would indeed be expected of a Gothic protagonist is that he is indeed of a profound nobility and high social status. This high nobility is also self-achieved as he was â€Å"born base of stock†. This high status gives him a high degree of self-conceit which is shown when he discusses how he wishes to cure all diseases, make man

Chemical Energy - Glossary Definition

Chemical energy is the energy contained in the internal structure of an atom or molecule. It is a measure of a substances capacity to transform into another substance via a chemical reaction. This energy could be in the electronic structure of a single atom or in the bonds between atoms in a molecule. Chemical energy is converted into other forms of energy by chemical reactions. Examples of substances that contain chemical energy include: WoodFoodGasolineBatteries Chemical energy is released or absorbed as chemical bonds are broken and reform. It is a misconception that a substance always releases more energy than it absorbs! Chemical energy is calculated as the difference between the energy of the products and reactants. This may be measured using a calorimeter or calculated based on the bond energies of the chemical bonds. Reference Schmidt-Rohr, K (2015). Why Combustions Are Always Exothermic, Yielding About 418 kJ per Mole of O2.  J. Chem. Educ.  92: 2094–2099.