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Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film. 1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes and shots. The camerawork is often handheld. The lighting is uneven and mainly natural. Jump cut to: a panning long shot of Michel fleeing the scene on foot through a wide open meadow. The scene is dimly lit, and with the ...

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xavier's strangeblog | xavieras.qwriting.qc.cuny.edu Reviews

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Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film. 1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes and shots. The camerawork is often handheld. The lighting is uneven and mainly natural. Jump cut to: a panning long shot of Michel fleeing the scene on foot through a wide open meadow. The scene is dimly lit, and with the ...

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xavier's strangeblog | xavieras.qwriting.qc.cuny.edu Reviews

https://xavieras.qwriting.qc.cuny.edu

Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film. 1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes and shots. The camerawork is often handheld. The lighting is uneven and mainly natural. Jump cut to: a panning long shot of Michel fleeing the scene on foot through a wide open meadow. The scene is dimly lit, and with the ...

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xavieras.qwriting.qc.cuny.edu

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Written on the Wind (1956) | xavier's strangeblog

http://xavieras.qwriting.qc.cuny.edu/2011/10/27/written-on-the-wind-1956

Umberto D. (1952) A man and his dog. Psycho (1960) →. Written on the Wind (1956). October 27, 2011. Written on the Wind. Is so over-the-top in every aspect of its being, some may find it campy and ridiculous (which it is). However, I find it brilliant in its use of excess because the film’s characters’ problems are so trivial, elevating their problems to such a high degree of importance and severity seems to be the only route in delivering a movie worth watching. A predecessor to shows such as. At the be...

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Psycho (1960) | xavier's strangeblog

http://xavieras.qwriting.qc.cuny.edu/2011/11/05/psycho-1960

Written on the Wind (1956). Analysis #2 Breathless (1960) →. November 5, 2011. One needs to learn the rules before they can break them. This is exactly what Hitchcock did in. Already a master in the classical Hollywood style of filmmaking, Hitchcock deliberately broke many of the rules of filmmaking in. To achieve a specific effect. The driving scenes is a prime example of internal diegetic sound. Everything in its right place. We’ve dealt with death and murder in this class and even serial killers...

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xavieraslarona | xavier's strangeblog

http://xavieras.qwriting.qc.cuny.edu/author/xavieraslarona

Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film Breathless (1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes … Continue reading →. November 5, 2011. Written on the Wind (1956). October 27, 2011. Umberto D. (1952) A man and his dog. October 21, 2011. Scene Analysis Citizen Kane, opening scene. October 17, 2011. Scene descri...

4

Analysis #2 – Breathless (1960) | xavier's strangeblog

http://xavieras.qwriting.qc.cuny.edu/2011/12/08/analysis-2-–-breathless-1960

Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film. 1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes and shots. The camerawork is often handheld. The lighting is uneven and mainly natural. Jump cut to: a panning long shot of Michel fleeing the scene on foot through a wide open meadow. The scene is dimly lit, and with the ...

5

Uncategorized | xavier's strangeblog

http://xavieras.qwriting.qc.cuny.edu/category/uncategorized

Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film Breathless (1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes … Continue reading →. November 5, 2011. Written on the Wind (1956). October 27, 2011. Umberto D. (1952) A man and his dog. October 21, 2011. Scene Analysis Citizen Kane, opening scene. October 17, 2011. Scene descri...

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Groups | History of Cinema II, FALL 2011

http://medst144f11.qwriting.qc.cuny.edu/groups

History of Cinema II, FALL 2011. Skip to primary content. Links to be added as students add their links to our blogroll… Groups 5-8 are for students linked to the ENG110 Reading Film courses. Please note that you are welcome to comment on any student’s blog, but you are only required to read and comment on those within your group. Group 5 (from Prof. Ferguson’s 110 class). Group 6 (from Prof. Ferguson’s 110 class). Group 7 (from Prof. Basu’s 110 class). Group 8 (from Prof. Basu’s 110 class).

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xavier's strangeblog

Analysis #2 Breathless (1960). December 8, 2011. The first five minutes of the French New Wave film. 1960) uses several techniques that signal the viewer of its awareness as a film. The film’s main character, Michel, directly addresses the camera. There are jump cuts between scenes and shots. The camerawork is often handheld. The lighting is uneven and mainly natural. Jump cut to: a panning long shot of Michel fleeing the scene on foot through a wide open meadow. The scene is dimly lit, and with the ...

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