|
gptkbp:instanceOf
|
gptkb:film
|
|
gptkbp:awardReceived
|
gptkb:Best_Director_at_Cannes_Film_Festival
|
|
gptkbp:basedOn
|
François Truffaut's childhood
|
|
gptkbp:boxOfficeGross
|
successful
|
|
gptkbp:cinematography
|
gptkb:Henri_Decaë
|
|
gptkbp:color
|
black-and-white
|
|
gptkbp:countryOfOrigin
|
gptkb:France
|
|
gptkbp:criticalReception
|
acclaimed
|
|
gptkbp:director
|
gptkb:François_Truffaut
|
|
gptkbp:distributor
|
gptkb:Cocinor
|
|
gptkbp:editor
|
gptkb:Marie-Josèphe_Yoyotte
|
|
gptkbp:festival
|
gptkb:Cannes_Film_Festival
|
|
gptkbp:filmingLocation
|
gptkb:Paris
|
|
gptkbp:genre
|
drama
coming-of-age
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The 400 Blows
|
|
gptkbp:influenced
|
gptkb:French_New_Wave
|
|
gptkbp:language
|
gptkb:French
|
|
gptkbp:mainCharacter
|
gptkb:Antoine_Doinel
|
|
gptkbp:musicBy
|
gptkb:Jean_Constantin
|
|
gptkbp:nominatedFor
|
gptkb:Academy_Award_for_Best_Original_Screenplay
gptkb:Academy_Award_for_Best_Foreign_Language_Film
|
|
gptkbp:notableFor
|
semi-autobiographical elements
directorial debut of François Truffaut
iconic freeze-frame ending
|
|
gptkbp:originalTitle
|
French idiom 'faire les quatre cents coups'
|
|
gptkbp:partOfSeries
|
gptkb:Antoine_Doinel_series
|
|
gptkbp:preservedIn
|
gptkb:United_States_National_Film_Registry
|
|
gptkbp:producer
|
gptkb:François_Truffaut
|
|
gptkbp:productionCompany
|
gptkb:Les_Films_du_Carrosse
|
|
gptkbp:releaseYear
|
1959
|
|
gptkbp:runtime
|
99 minutes
|
|
gptkbp:screenwriter
|
gptkb:François_Truffaut
gptkb:Marcel_Moussy
|
|
gptkbp:sequel
|
gptkb:Bed_and_Board
gptkb:Love_on_the_Run
gptkb:Stolen_Kisses
gptkb:Antoine_and_Colette
|
|
gptkbp:setIn
|
gptkb:Paris
|
|
gptkbp:starring
|
gptkb:Claire_Maurier
gptkb:Jean-Pierre_Léaud
gptkb:Albert_Rémy
gptkb:Guy_Decomble
|
|
gptkbp:theme
|
alienation
education
freedom
revolutionary
adolescence
family dysfunction
|
|
gptkbp:bfsParent
|
gptkb:François_Truffaut
|
|
gptkbp:bfsLayer
|
4
|