Abstract

The focus of this paper is the intertextual relationship between the work of François Truffaut and that of Honoré de Balzac. It explores Balzac's influence on the shaping of Truffaut's voice and argues that Balzac's Human Comedy served Truffaut as a model for some of his cinematic innovations. This applies to Truffaut's total oeuvre, but particularly to his series of autobiographical films, “The Adventures of Antoine Doinel”: The 400 Blows (Les Quatre Cents Coups, 1959), Antoine and Colette, Love at Twenty (Antoine et Colette, L'Amour à Vingt Ans, 1962), Stolen Kisses (Baisers Volés, 1968), Bed and Board (Domicile Conjugal, 1970), Love on the Run (L'Amour en Fuite, 1979). In examining Truffaut's “rewriting” of Balzac, I adopt—and adapt—the intertextual approach of Harold Bloom's theory of the “anxiety of influence.” My paper applies Bloom's concept of misreading to an examination of the relationship between Truffaut's autobiographical films, and Balzac's Human Comedy, both thematically and structurally.