Postmodernism in Amélie (2001)

Post juvenileism in Am rest (2001)With reference to key theories studied on the mental faculty and one of the charters from the given list, critically analyse the image brass of the drive, and the ways in which supports to convey specific meanings. You must comment on the way in which the narrative, meaning and mood are supported by the formal elements, and draw connections with the relevant historical, cultural and genre contexts.My es think will argue that the image system of Am fabrication (2001) and the post-modern style adapted by Jean Pierre Jeunet, was one of the key aspects which lead to the rents huge success worldwide. I intend to explore how the levels of realism and formal elements within the film, develop the narrative and mood, with reference to historical developments in French film and critical viewpoints. To clarify, when I say foreign film, I am referencing the films which are foreign to Hollywood and the other pre supreme production companies in western cultur e.The film Le fabuleux destin dAm delusion Poulain was highly successful not only in France, but around the world, with a Domestic Total Gross of $33,225,499. It was also nominated for five academy awards including Best Foreign Film (Box Office Mojo). The film has a very distinct look derived from its image system and form, which has become part of French handler Jean-Pierre Jeunets auteuristic style. He has been described by Eisenreich (2004) as the national filmmaker who develops the richest visual world, combined with a technical mastery and artistic sense. thither are many critical essays and reviews written on the stem of Am frauds success in the mainstream film industry, many putting it mickle to the feel-good nature of the narrative, others suggesting it was the unique cinematography and mise en scene.Elizabeth Ezra (2008) states that Jean Pierre Jeunet, as an auteur, has a highly postmodern style. I am inclined to agree with this point, as Am brood down is such(prenomin al) a stylised film that the ravisher is rarely emerged completely in the film. The reference is always aware that they are in fact watching a conservatively structu ruby-red and composed piece of work. According to Braudy and Cohen (1999) postmodern cinema is a deliberate mixing of different genres and film styles, pastiche and exposing the nature of a constructed text. As filmmakers, such as Jean Pierre Jeunet, are becoming increasingly aware of their audiences energetic role in viewing their films, they have begun to use the conventions of postmodern cinema to their advantage. An suit of a postmodern device often apply in Amlie is breaking the fourth wall where the character directly addresses the viewer. Amlie looks directly at the camera in many close-up cocks. These shots are carefully composed and use a wide lens, creating more depth in the frame. This also distorts her already elfish face, emphasizing her large eyes with an expression that includes the audience in wha tever joke or feeling she is experiencing. This technique is an easy way for Jeunet to emphasise her role in the narrative and engage the audience so that she is a sympathetic character to the viewer.As well as the distinct postmodern style, Jeunet searchs to take inspiration from older film techniques. In Rmi Fournier Lanzonis book French Cinema From its Beginnings to the Present (2002) it is noted that the locations and characters in Amlie are highly reminiscent of Poetic Realism films, a movement of French cinema in the 1930s that combined naturalism and lyrical stylization (Lanzoni 2002). The majority of the film was shot on location in the centre of Paris that, unattractive aspects such as graffiti and rubbish bins were digitally removed in post-production. Using this technique meant that even the real modern Paris resembled the poetic-realist sets of the 30s. In my opinion, this approach makes the film feel removed from any particular timeframe, as if it is an ecosystem unaf fected by the concerns of the wider world. This also means that it is strongly pose with the gritty realism of social dramas set in Paris made at a similar time, such as Mathieu Kassovitzs La Haine (1995). Steinberg (2001) argues that this makes Amlie seem highly unrealistic, saying Jeunets Paris is a thoroughly sanitised version of the real thing clean, free from honking cars, tourists, foreigners and other complications. hitherto the beggars are happy in such an idyllic ParisAdding to the slightly surreal version of Paris created by Jeunet is the bold colour palette, the most dominant colours being red and green, often complemented by yellow. These colours create a very warm and positive smelling to the film, as they seem to copy old footage and perhaps evoke a nostalgic response from the viewer. This again distances the film from modern day, despite the use of modern day technology. The colour red could also be recognised as a motif in the film, as it is present in almost eve ry scene Amlies clothes, the garden gnomes hat, the flowers and tables in the cafe as well as many other objects.Jeunet also uses black and white when providing flashbacks, such as Bretodeaus memories conjured by the treasure Amlie leaves him. This may have been done simply so that it would fit with the archive footage of the Tour de France however I believe that it also provides a contrast with the dexterous bold colours in the rest of the film. Stanley Cavell proposed that in cinema, often, black and white represents reality whereas bright colour portrays fantasy (Cavell 1979). In Amlie, the narrative is foc utilize on the main character therefore the abnormal colours used could be seen as representative of her highly imaginative and playful outlook on life. This also suggests that the reality which the viewer is witnessing may perhaps be entirely constructed from Amlies imagination.Ben-Shaul (2007) explains that some films attempt to make their simulacrum so believable that it i s invisible, so that the characters and situation are the primary focus for the viewer. Others use an overt range of cinematic techniques to replicate a certain type of reality the filmmaker wants the audience to experience. As previously mentioned, the mise en scene of Amlie seems to be a product of Amlies imagination this means that the film becomes somewhat hyper-realistic. Baudrillards theory of Hyperreality (1994) describes when a film blends some(prenominal) reality and fantasy together so seamlessly that it is hard to tell what is real and what is not. I think that this is an essential theory to consider when understanding Amlie, as some parts of the film which might be taken literally, may perhaps be figments of her imagination.However, many aspects of the film manoeuver very obvious uses of CGI, such as the imaginary crocodile that Amlie plays with as a child. There are many comical moments in the film, for compositors case Amlie preferably literally breaking down into tears after not plucking up the courage to speak to Nino. There are also more serious uses of supernumerary effects, which are very noticeable, yet more subtle, for example Amlies daydream of Nino sneaking up behind her in the kitchen. This sequence uses a split screen which resembles a thought bubble, showing Nino approaching Amlies back whilst larger section of the frame shows Amlies reactions from the front view.The use of these techniques, especially the animation, contribute to the films novelty factor, surprising and exciting the audience. If his use of CGI tells us anything about Jeunets auteur style, it is that he is not concerned with absolute realism. He enjoys the artifice of film and extends it as far as he can, integrating the fanciful with the actual while avoiding cheesiness. evenly important in creating Jeunets uncompromised auteuristic style is the wide range of shots, angles, and editing techniques. Vanderschelden (2007) notes that many of the camera techniques u sed throughout the film are playfulreinforcing the light-hearted, cartoon-like tone. I agree strongly with this statement, as the film is rich with interesting and unusual camera angles and pans, which perfectly reflect the characters portrayed.Montage sequences are liberally used in Amlie, and are a key element to the style of the film. The whole opening of the film appears to be montage, the very fast paced shots of Amlies childhood, from conception, to birth, to being five years old, to being fully grown up. According to Eisensteins Montage theory, the juxtaposition of opposites or similarities allows the filmmaker to shape the see and emotions of the viewer. I feel that Jeunet chose to show Amlie growing up at such a roaring pace, juxtaposing her childhood years and adult years, to show the audience how much she has changed and how much she has stayed the same. This device not only adds a far-out humour to the film, but it also introduces the fast paced and frantic tone of the film, allowing the viewer to gain a lot of pointless information in a very short amount of time.The use of sped up footage is used throughout the film, attach to by loud sound effects to keep the pace of the film up. The pacing up also works to create a surreal and quirky feel to the film. An example of this is when Amlie cuts up the letters in a blur of speed. I found this added a little cartoon-like element to the film, as well as allowing the viewer to understand what it happening. Other examples of this in the film are the sped-up linking shots between Amlie visiting the various Bedoteaux (not Betodeau), again attended by racing car noise sound effects.Another technique Jeunet uses in Amlie is the use of a handheld camera. An example of this is in the fast paced scene where Amlie takes the blind man by the arm and tells him what she sees. The handheld camera adds to the spontaneity of the scene, as it follows Amlies sudden decision to help people. The scene is over very quickl y, leaving the blind man stood appreciating what has just happened, and the handheld camera turns into a crane shot which swoops above, highlighting the significance of that moment. Often in films such as Mathieu Kassovitzs La Haine (1995) the handheld camera is a technique which adds realism and makes the film seem much more dramatic. I feel that in Amlie, the opposite effect is achieved, as the handheld camera is not used extensively, and is only used in times of excitement and joy, such as the final scene of Nino and Amlie riding on the moped in a fairytale-like ending. quite of adding realism, the handheld camera conforms to Jeunets unique style, and adds to the surrealism of the film. Jeunet successfully uses a lot of panning and tracking, adding also to the fast pace established by the other techniques. For long periods of the film there is constant fluid movement, with the camera circling characters or swooping over scenes.The audience is often placed in an observing positio n, with the camera standing at a distance to the action. We are used to this convention in film but we are also used to being invited to get close into the action when it is appropriate, for instance if there is an important conversation. There are some occasions in Amlie where we expect to be closer in to the action than we are, for example in the closed cafe, when Amlie suggests to Georgette that Joseph likes her, we are positioned in a corner behind the stacked chairs, as if suggesting that we are eavesdropping on the conversation. This adds an air of covert and mystery in the film.An extension of this is when we see the action through a window, or an actual physical barrier, such as the conversation between Amlie and Nino in the cafe where they talk through the glass screen. And removing the audience even further, binoculars and video cameras are used by the characters in the film in some scenes, lending an air of voyeurism to their, and consequently our, role. In addition, the film appears to be shot as a picture. Many of the scenes are framed severally looked pretty as a postcard and reflected her status of an observer. Scenes framed as pictures.