Amelie

Amelie
The culture and history of France have been highly influential among filmmakers and have affected
the construction of a variety of films. One such film is, Jean Pierre Jeunet's highly successful film
Amelie (2001). The French believe that the success of a film isn't measured by the money it makes,
but by the number of people who watch it. They believe that everything cultural must be protected
from the domination of the markets, a concept known as L'exception Culturelle (The French
Cultural Exception) (Wikipedia, 2011). Amelie, is the picture perfect example of this concept, as it
perfectly exhibits the epitome of French culture; portraying France as 'The City of Love', full of
wonder, where dreams come true. Amelie is a beautiful film ... Show more content on
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This has been the basis for many French filmmakers, as this is the type of France audience finds
most pleasurable to watch. Jeunet has presented to his viewers a stereotypical view of France. Jeunet
chose to set Amelie in Montmarte because it deisplays stereotypical qualities of a French
wonderland, as well as being aesthetically pleasing. Included in the shots are many stone buildings,
clean streets, and beautiful colours, all of which have been cautiously selected, adding to the
director's aspiration of creating a French wonderland. "We worked on everything: moving cars,
removing signals, graffiti's..." (Jeunet, JP, 2001). It can be seen that the narrative, characters and
underlying message of Amelie are all incredibly positive, and Jeunet has clearly found inspiration
from Paris being the city of love, as well as memories from his own life. "I had in mind a box full of
tiny happy events and stories. I wanted to use them to make audience feel happy." (Jeunet, JP, 2001)
The textual features used in the film make it evident that the construction of the film has been
influenced by French culture. A variety of different techniques have been used by Jeunet to give the
film a feeling of fairytale and fantasy, emphasising innocence. Jeunet has used extremely saturated
colours to give the film a fantasy and dreamlike feeling, the colours used to emphasise this are red
and
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Essay about Jean-Pierre Jeunet's Film Amelie
Jean–Pierre Jeunet's Film Amelie Imagination is an intrinsic part of the human experience. It has the
power to mold reality by defining the limits of possibility and affecting perception. Both Alan White
and Irving Singer examine aspects of this power in their respective works The Language of
Imagination and Feeling and Imagination. White delineates how imagination is a necessary
precursor to possibility (White 179) while Singer primarily illustrates imagination's effect on human
relationships, such as love (Singer 29–48). Despite their different focuses, White and Singer
demonstrate the impact that imagination has on human perceptions of reality. Jean–Pierre Jeunet's
film Amelie explores this facet of imagination: the film ... Show more content on Helpwriting.net ...
Between pursuits of her love interest, Amelie takes it upon herself to help the other characters in the
film. Through her interactions with the other characters, A great contrast can be seen between the
title character and the supporting cast. Whereas Amelie seems to bend the rules of reality with her
imagination, many of the other character are locked down by their inability to imagine other
possibilities. In helping these characters, Amelie's imagination also expands their imaginations and
beliefs. Shortly after the opening sequences, the film introduces the landlady of Amelie's apartment,
Madeleine Wallace. The maudlin woman mourns the loss of her lover Adrien but cannot resolve her
feelings for him since he died while in the midst of an affair with his secretary. For Madeleine, the
realm of possibility is confined by these facts; likewise, she is confined to the depths of despair. To
allow Madeleine to move on, Amelie injects a new possibility into her mind by forging a letter from
Madeleine's lover that apologizes for his indiscretions. Without such physical evidence, Madeleine
would have remained tied down by her knowledge of her lover's affair and unable to imagine the
possibility that Adrien had hoped to return to her. Amelie returns this notion from the realm of the
inconceivable to the imaginable; in turn, Madeleine

Amélie: The New Wave
During the French New Wave, many critics became the moviemakers. One of the main qualities of
the New Wave were the casual looks of the films. In addition, the New Wave also used a large
amount of camera movements. The film Amélie is inspired by the French New Wave and uses its
distinct characteristics throughout the movie. In the film Amélie, director Jean–Pierre Jeunet uses
skillful directing, lighting, editing, and form to achieve themes such as innocence and happiness.
Jean–Pierre Jeunet is able to maintain the themes, simplicity and happiness, with strong directing.
Having strong directing allows the components of the mise en scene to be coherent throughout the
film. As a foundation, Jeunet develops a setting to help emphasize Amélie's ... Show more content
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Editing allows the director to make the themes of the film appear clearly and correctly during a film.
This is achieved through elements such as, montage, time manipulation, and shot design. In Amélie,
the director uses montage to further advance the narrative of the story. In addition, montage can be
used to help build character traits. For example, in the scene where Amélie asks the question, "How
many couples are having an orgasm now?" the director uses montage sequences to evoke humor.
Using this montage helps to develop Amélie's character traits while also building upon the themes of
the movie. In addition to montage, time manipulation also helps the director further advance the
story. An example of time manipulation shown in the film is the scene where Amélie is cutting the
letters in to pieces incredibly fast. There are two main purposes for the director doing this: first, to
shorten the amount of time this task takes to complete and, second, to help the audience gain insight
into Amélie's character. In order to make the montage and time manipulations more effective in the
film, shot design is important. Throughout the film, Jeunet consistently uses close–up shots and
zoom shots. These shots are effective because it enhances the audience's experience and draws their
focus towards the characters emotion. In Amélie, understanding the emotions of the characters is
important to the story. This is because Amélie expresses herself more with her nonverbal language
than her verbal language. In particular, Amélie speaks mostly through her eyes and other facial
expressions. Another important aspect of editing in Amélie is the widespread use of Computer–
Generated Images (CGI), which can be seen in every scene of the film. A unique usage of CGI in the
film is the scene where Amélie turns to liquid in the middle of the café. These special effects help to
further the film's sense of fantasy and

What Is The Mood Of Amelie
A film's visual design is very important in executing a story. Thus, every small detail of its mise–en–
scene: lighting, color, framing, props, costume, etc., are carefully picked and arranged to
successfully set the mood of the film or deliver a theme. Amelie by French director Jean–Pierre
Jeunet does both and shows the different aspects and techniques of staging. Doing so, the film
creates a very whimsical world that Amelie, the protagonist, lives in. It is through the visual design
of the film where the audience can get a glimpse of Amelie's very unique and colorful perception of
the world. Throughout the film, one element becomes very apparent. There is a common color
scheme that the film follows. Every scene seem to contain the colors ... Show more content on
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In Amelie, there seem to be no specific period in which the story is set. The wardrobe of the
characters are either modern or vintage and some of the props are not just objects anymore. In one
particular scene, the man on the photo booth pictures suddenly speaks to Nino. Another scene comes
up in which Amelie is watching news in her television and a women that looks exactly like her,
somehow describing Amelie's current life, is on television. Of course, only the audience know that
the women is a striking resemblance of Amelie. Doing this, the film falls in between reality and
theatrically and the characters, especially Amelie, and everything around them is taking the
audience in a time in which they think fits best. By having no specific time, a whimsical world is
created, and that in which is perceived by Amelie

Jeunet Film Techniques Essay
Jeunet's techniques are influential to his film's visual style. For example, Jeunet utilized wide angle
lenses and placed the actors particularly close to the camera. This produced animated–like facial
features which worked well with the actors casted, due to their unique facial features. I did a little bit
of research on the cameras and lenses used to film and I came up on a blog. The stated that for
Tautou, Delbonnel and Jeunet found that a wide angle 14mm or 27mm lens was just right. Anything
longer or shorter did not look quite right. The camera in Amélie barely filmed scenes at eye level.
Bruno Delbonnel set the camera usually a bit above or below eye level. Mixed in with the wide
angle lenses, a small tilt up or down eventually contributes to the dynamic look. Another element I
cherished about the camera work was the way Delbonnel moved the camera towards an object or
focal point. He did not simply zoom in, he gradually moved the camera as he moved it with a turn of
about 180 degrees. The use of the track/crane device is common in most films but Jeunet's
controlled ... Show more content on Helpwriting.net ...
The non–diegetic sounds (that which couldn't be heard by the characters in the film) and diegetic
sounds often blur because of the use of sound effects (non–diegetic) that occur in real life (or
particularly in Amelie's) such as trains, cars and air brakes. For example, when Amelie moves from
one Bredoteau to the next, we hear traffic noises, or when she comes to a halt at the photo booth, we
hear a train stopping. This effective blend of audio engineering reflects the subtleties of realistic and
fantastic elements in the film. We hear added sound, but it is as if it is part of the world of of the
film. Often non–diegetic and diegetic work together. See Lucien's insults of Collignon, accompanied
by increasing musical volume, to the point where Dufayel cries out for him to stop and so the music
does

Analysis Of Le Fabubeux Destin DAm�lie Poulain
The film Le Fabuleux Destin d'Amélie Poulain, more commonly known as Amélie, was released in
2001 and became an instant success internationally. It portrays a unique style of film and is visually
different but exceptional. Directed by Jean–Pierre Jeunet, Amélie contains many amazing
characteristics that made it into a hit. The plot, color scheme/special effects, particular camera
movements and jump–cut editing make the film enjoyable and interesting. Amélie seems to relate
more to the French public but many people from other nations found it quite good. It was shown all
throughout commercial theaters and became a box office success. One could say due to the film's
romance aspect and female lead; the target audience ideally would be women in the age range of
18–25. These young audiences are a result of the French trend, cinéma du look, in which youth–
oriented films were produced with high production values and flashy visual style. This trend was
only one of many during the 1980s and forward that changed the French film industry. With such
innovations, Amélie was able to capture the attention of viewers and bring them into an
idiosyncratic and fantastical world.
The story of Amélie Poulain is indeed out of the ordinary for she creates an alternative universe of
her own. Her parents are very odd and think she has a heart defect, therefore, she is home schooled
and raised with multiple restrictions. Due to this, she grows up having a huge imagination. After her
mother's

Mise En Scene Analysis
The movies Sunset Boulevard, Amelie, and Metropolis all have numerous amount of excellent
scenes that can outline mise en scene. Mise en scene is the setting organizations and the view of an
image, movie, and so on. Although you can pinpoint every picture display and point out many of the
obvious mise en scenes, there is one picture in each of these movies that are more meaningful than
the rest of the movie after watching it. They intend to be more worthy because it is where the movie
begins to fabricate the film. The scenery times that I am mentioning are 1:38:38 for Sunset
Boulevard, 15:01 for Amelie, and 1:04:50 for Metropolis (the scenes are located on Netflix).
Billy Wilder, the director, and creator of Sunset Boulevard have ... Show more content on
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The reason this piece is so important is that she focuses on the box that she later returns to the
owner. Although the light is mostly outside the small hole it is lighted to the box and so the
dominant attraction is the box. Even though the camera is centered on the action of the hand; what
the hand is going to grab is what is important. The camera is low on the floor eyed level, like if you
were laying down with your head up looking at the hand reaching through the whole. This scene is a
close up of the brown dirt and box, and the yellow light seeping through the small hole that Amelie
puts her hand through.
Lastly, Fritz Lang is the individual who introduced Metropolis to the world and made it one of the
longest films. The theme of this film was to have equality between the lower class and high class, it
is also to show what the future holds for the audience. In the picture, it shows Rotwang shine a light,
with a disastrous darkness within him and shown in the background. This image is so close up that it
is at eye level. In the dark backdrop, it reveals two skulls which symbolize death and evil which is
upon Rotwang later in the movie. Notice this image is significant because this is where life shifts for
Maira and has an impact on the remainder of the characters because of what Rotwang creates. This
character face is brightly lighted to expose the powerful malevolent that the actor portrays to be. If
you look closely you can see three dots in

Amlie Movie Essay
A narrative reading of Amélie (2001) directed by Jean–Pierre Jeunet, is a quirky portrayal of
modern–day Parisian life, set in Montmartre. It tells the story of a shy waitress, played by Audrey
Tautou, who decides to change the lives of those around her for the better, while struggling with her
own isolation. We see the progression of Amelie's character from childhood to adulthood. The
opening sequence of the film gives an insight of Amelie's childhood and establishes the main
characters and their traits. Young Amelie's traits are established in different scenes of the opening
sequence, for example a mid shot is used as the opening credits start and young Amlie is framed
alone. We see a stream of games young Amelie used to play, like making silly faces, dominoes and
finger games. These games belong to the knowledge of everyone, everyone can recognise them. If a
scene focuses on the childhood, we know that this moment of life will be a determinative item in the
film. This shows the active audience theory, which media audiences do not just receive information
passively but are actively involved, often unconsciously making sense of the message within their
personal and social context. The decoding of a media message may therefore ... Show more content
Some of her games were kind, such as when she forged a love letter to a heartbroken lady, and some
not so kind, such as sabotaging the mean grocer's apartment. One of her pranks were by pure
mischief by sending her father's garden gnome round the world and some were downright
interfering, trying to match–make two lonely people (Georgette And Joseph). These games showed
that Amelie had no real moral compass because she had no doubts about misleading or deceiving
others. This reflected her childlike nature, whereby she did not understand the consequences of her

The 2001 Film Amélie Directed By Jean-Pierre Jeunet
The 2001 movie Amélie, directed by Jean–Pierre Jeunet, is a significant movie that demonstrates the
unique characteristics of French movies. Two important ways that Amélie differs from the
conventional movies, like Hollywood movies, is by the use of the camera and the mise–en–scène.
The scene of the movie Amélie that is important to have in the movie is when Amélie is helping the
blind man. This is important because it is where the actual movie starts. In the beginning, the
director gave the audience background information about Amélie and it introduces the main plot.
Amélie starts by making a change and taking control of her life. It starts with this scene, where she
helps the blind man by describing the surrounding and making him feel like ... Show more content
The camera follows Amélie as she navigates through the city. The angles are slightly slanted, which
what makes this scene very unique and also distinctive from other important scenes in this movie. In
this scene, the camera follows Amélie and the blind man down the sidewalk. This happens quick and
the camera movement moves along with them. Also during this scene, there is a lot of different
camera angles and camera positions. It doesn't focus on the the surrounding, but the main thing that
the audience gets out of this is the way Amélie is helping the blind man and most importantly, is the
blind man's reaction. His faces is amazed and also pleased by the way that Amélie is helping him.
Mise–en–scène is the setting of the scene and how it is set. The mise–en–scène is set in a particular
way to make this scene work. During this scene, Amélie and the blind man are outside on the streets.
As Amélie tells him what is going on around, they make there way down the sidewalk. The sidewalk
is clear for them to walk to and the director made this happen so they transition easily to one point to
another. Also the setting is set by having vendors on the street. Amélie describe what they are selling
and also other things that one would see as he/she would be passing down the

Analysis Of Amélie
Amélie is a 2001, French romantic–comedy set in Montmartre, Paris, France during the late 1990s.
The film follows Amélie as she wanders through the city, and portrays a variety of perspectives on
daily life in the city. The film is set in and around iconic areas of Paris, France, where viewers are
given glimpses of classical French architecture and landmarks. This essay will argue that the film
Amélie portrays daily Parisian life through a romanticized lens. This essay will offer discussion on
how the film provides a commentary on urban life in Paris. The following paragraphs will offer a
discussion on the portrayal of the city, the reasoning for these portrayals, how they might affect the
audience and how such portrayals impact one's ... Show more content on Helpwriting.net ...
What is important to consider is what is missing from this representation of the city. Jean–Pierre
Jeunet is the director of the film, he is quoted as saying, "I wanted to make a fake Paris, a very nice
Paris, like in my head when I was twenty and I arrived in Paris for the first time. I wanted to avoid
the bad things: traffic jams, dog shit on the street, the rain" (Portegies, 2010, p. 55). What Amélie
projects is simply a cinematic version of Paris (Durham, 2008, p. 178). Jeunet was criticized for this
depiction of Paris, "which appeared to erase, as if by magic, all traces of graffiti, crime, pollution,
and social unrest" (Ezra, 2004, p. 301). The film's setting used more than eighty separate locations,
and is, "so vetted and filtered that the manufactured Paris–scape resembles little more than a
sustained advertisement for a traditional French product" (Portegies, 2010, p. 56). This romanticized
version of Paris is then exacerbated by the traditionally associated French clichés which are present
throughout the film. Thus, Amélie seeks to contrast the dark and gritty imaginings of the city and
instead make it an attractive place to be. Jeunet's contemporary Paris, creates astonishing adventures
out of the everyday life. For some, this reimagining of the city erases the experiences and lives of
actual people within the city. The focus of the film does not give the viewer an honest

New Wave Cinema
In David Cook's, "A History of Narrative Film," it is said that "the prevailing mode of postwar
French cinema was literary adaption, which caused French films to become increasingly verbal and
theatrical. It was against this tendency– identified as 'the tradition of quality' by Francois Truffaut
and the other critics writing in Cashiers du Cinema, that the New Wave reacted in the late 1950's and
1960's."
Camera–stylo, which would permit the cinema "to become a means of expression as supple and
sbutle as that of written language and would therefore accord filmmakers the status of authors.
Astruc's notion was to break away from the tyranny of narrative in order to evolve a new form of
audiovisual language" (Cook, 350). Astruc went on to describe how the problem of the cinema is
how to express thought. "The creation of this language has preoccupied all the theoreticians and
writers in the history of cinema, from Einstein down to the script–writers and adaptors of the sound
cinema" (Cook, 350). ... Show more content on Helpwriting.net ...
It is described as a "lyrical but wholly unsentimental account of an adolescent delinquent, shot on
location in Paris" (Cook, 352).
The French New Wave was all about freedom and how it should seem personal. The 400 Blows does
just that by telling us a story about a boy "coming of age." As part of the New Wave, for The 400
Blows, the movie was not only shot on location, but natural lighting was used to give the movie a
realistic film. In addition to this, many producers/directors during this time used mobile cameras
(handheld). These were many characteristics that these artists used in their films. It was real and it
was raw and it was just the beginning for

Film Analysis Of Fran�ois Truffaut's 'The 400 Blows'
This film analysis will delineate the diverse directorial decisions of The French New Wave cinema
movement, and how they have been utilised and developed to challenge and subvert the typical
Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in
François Truffaut's The 400 Blows (1959). Hollywood produced films of the time used a very
limited variation in film techniques such as camera, acting, mise–en–scene, editing and sound. This
can be mainly attributed to the low innovative thought of creative and expressive camera
movements, angles, etc... due to technological hindrances. In particular, this film analysis will de–
construct the filmmaking elements of the revelatory French New Wave movement in Truffaut's The
400 Blows ending scene (01:34:42 – 01:39:32) portraying the main character Antoine Doinel's
escape from juvie and trek to the bespoken beach.
At the beginning of the scene, Antoine and his fellow juvie inmates are joined in a rather
melancholy game of football/soccer. Antoine is then portrayed as making a spur of the moment and
impulsive decision to escape when the referee/teacher is distracted by the game. The audience is
then engaged with an extremely long tracking shot of Antoine running to a seemingly unbeknownst
location to the audience. Following this scene his destination is revealed as the beach, leaving the
audience to suppose and question why Antoine went there rather than being given a perfect fairytale
ending typical to

Catcher In The Rye Critical Lens Essay
IN order to understand our world today, it is essential for us to recognise the contextual factors that
influence the individual's who occupy it, as well as the concerns of composers from the past.
Through the comparison of the film 'Amelie' by Jean–Pierre Jeunet and the novel 'The Catcher in the
Rye' (TCR) by JD Salinger it is proposed that contextual factors such as childhood experiences and
the nature of relationships have the ability to shape who we are THROUGH what we value. Both
texts explore the necessity of taking risks in order to lead a rich and fulfilling life as well as the
importance of an appreciation for the beauty in life, which is too often neglected or clouded by self–
pity and preconceptions. The two protagonists, Holden in TCR and Amelie in Amelie, both struggle
with creating and maintaining intimate relationships due to circumstantial influences. ... Show more
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His childhood is characterized by feelings of betrayal and alienation as his parents discarded him to
boarding school and his older brother abandoned him to Hollywood. He has perceived adulthood as
a condition characterized by deceit and falsity– constantly aware of all the 'phonies' around him and
was persistently rejecting the transition into adulthood. Similarly, Amelie's self–perception of
ostracisation stems from the isolation she experienced in her youth as she was homeschooled due to
an alleged heart condition which separated her from what was considered 'normal'. The effects these
neglected childhoods' have on the protagonists prevails through the characters' inabilities to cope as
they embody childish characteristics in search for justified closure of their pasts. Amelie's childish
tendencies are represented through her active imagination, exemplified

Amelie Movie Analysis
The movie Amelie, directed by Jean–Pierre Jeunet, is a french romantic comedy that circles around
the main character, Amelie. She is the only child of a distant father and deceased mother. At the age
of six, her father, who is a doctor, diagnosed Amelie with a heart condition, but it was really just her
heart race increasing when he touched her. She was not used to physical contact with their detached
relationship. This made him think she was too fragile for school, so she became comfortable living
in solitude, developing a wonderful imagination. When she grew of age, she moved out and got a
job at café Montmartre. One day in her apartment, she discovers a little box in the wall in her
bathroom. She then spends time attempting to find the owner of the box, deciding to dedicate her
life to kindness. She finds him and is inspired by inspiring him. She then promotes the idea of
traveling the world to her fading father through anonymous pictures of his cherished garden gnome
around the world. She also finds a photo album, eventually falling in love with the owner of it. She
also achieves other small acts of kindness, like getting rid of her coworkers creepy ex–boyfriend for
some time, helping her neighbors sadness, and spending time with the "glass man." The movie
Temple Grandin, directed by Mick Jackson, is a biographical movie about a strong, curious, and
independent autistic woman. Similar to Amelie, Temple had a lack of parental support. She
experienced a lack of bonding

The Road Less Traveled In The Film 'Forrest Gump'
The Road Less Traveled:
Happiness is Different for Everybody, so Make Your Own Road.
Jerry Seinfeld once said, "Sometimes the road less traveled is less traveled for a reason", meaning if
so many people in the world are unhappy, why would you follow the road they took if they never
found what you are looking for. I am going to look at some of the characters that took the road less
traveled in order to achieve happiness, specifically Amélie, Royal Tenenbaum, and Forrest Gump.
Amélie found her own way to happiness by bring it to others and not only making their day, but
improving their lives. Royal Tenenbaum wanted his family to love him, and in order to do that he
had to mend broken ties and relationships with family members. Forrest Gump ... Show more
content on Helpwriting.net ...
In the movie "The Royal Tenenbaums", directed by Wes Anderson, the character Royal Tenenbaum's
end goal for happiness was to have his family love him, which is more difficult than it seems mainly
because he was a jerk to them their entire lives. When Royal finally made the tough decision that he
had to divorce his wife, he exclaimed, "I've always been considered an asshole for about as long as I
can remember. That's just my style. But I'd really feel blue if I didn't think you were going to forgive
me.". This illustrates Royal acknowledging his faults throughout his life and asking for forgiveness
from his family. At the end of the movie when Chas's kids get their dog run over, Royal uses his gift
of persuasion to get the firemen to give them the station dog. Unlike Royal's old self, where he
would have gone to the boys and made them love him, he let Chas give the dog to his own children
so they could be proud of him, and make Chas look like a real father figure. His wife Etheline
Tenenbaum was feeling miserable and bringing down the joy of others around her because she did
not want to be there. Royal was holding her back from doing what she actually wanted to do, which
was marry Henry Sherman. For Royal the road to happiness was paved with many roadblocks,
which were the relations with his family that he had ruined. Throughout Royal's long life he had

Happiness In Catcher In The Rye
True happiness can be exposed through the journey one takes during the darkest of times. Humans
rely on other people to feel a sense of worth and belonging in a society that is confined to isolation.
The Cather in the Rye, written in 1946 by JD Salinger and Amelie, a 2001 French film directed by
Jean–Pierre Jeunet both assess the position of two characters struggling to accept and understand the
society they are placed in. It is through the relationships with other people, a dysfunctional and
isolated youth and an altruistic nature that the characters in these texts gain a full understanding into
emotional identity. Dynamic relationships provide an individual with a sense of fulfilment and joy in
their lives. Happiness is contagious, gained through the interaction with other individuals. A Harvard
... Show more content on Helpwriting.net ...
Even now........and you in the only nice, dry, cosy place in the world. I loved that damn museum."
Pathetic fallacy is used to describe Holden's positive thoughts on the museum. This association of
friends in a joyful environment reinforces one of the few joy's Holden has in life. The Catcher in the
Rye was written in a period where technology was being developed and there was a drastic variance
in economic status between the poor and the wealthy. Children were enthusiastic and privileged to
participate in excursions and relied on face to face friendships to develop resilience and vivacity.
Holden's strong bond with his sister Phoebe is evident of his happiness. Through discussing what
makes Holden happy, he admits to Phoebe, "And I like what I'm doing right now. Sitting here with
you, and talking, and thinking about stuff and." The repetition of "and" represents how the majority
of Holden's happiness relies on his relationship with Phoebe. Without Phoebe, he would not be able
to conduct mature and eloquent conversations. The altruistic nature in Amelie, forms the interactions
Amelie has with other people and instigates happiness. Amelie, set

Analysis Of The Film Delicatessen
1 . Introduction
This is the author account of the film Delicatessen. This is a post–apocalyptic film set in France.
Meat and food is very scarce in this dark period for the world. This film has everything from
murder, sex, cannibalism to people living under the ground.
1.1 Methodology
The author was giving the film Delicatessen and told to deconstruct the film and give the author's
opinion on this strange film. The author watched the film a few times and read reviews online to
learn about the director and main actors and actress that starred in Delicatessen.
2.1 Food is Currency
There is no money in this post–apocalyptic film so meat, corn, lentils and even sex is used to pay for
food. The people are using the barter system to trade by exchange of commodities rather than
money. Food was more important than money, you need to eat to survive, and meat is the top
commodity.The Kube brothers exchanged 2 bags of corn for nine hundred grams of shoulder meat.
And when they argue this Clapet told the brothers you get what you always get. Lentils were seen as
nothing as the taximan would not take lentils from Louison for his fair, instead he took his shoes,
even though taxi broke down before and Louison had pushed the car for miles.
2.2 Troglodytes
If you live underground you are regarded as being deliberately ignorant or old fashioned or even a
hermit why would anyone want to live underground. However in this film it is safer to live
underground than above it.The

Junet's Use Of Mise En Scene In Amelie
Amelie is like most movies in that it revolves around finding true love. However, its ways of
introducing characters and the colors used accompanied by its brilliant soundtrack swoon the
audience into accepting a fairytale world that is arguably different from other movies. Jean–Pierre
Jeunet's Amelie uses elements of mise–en–scene and narrative to create a colorful and extravagant
story. Mise–en–scene is French for "putting on a scene" (Barsam 173). Every director has to make
the decision of what to put in to a frame and how to arrange then. Jeunet creates his scene by
contrasting a drab green landscape of France by letting the audience see the colorful perspective of
the main character Amelie. One of Amelie's desires in the movie is to silently ... Show more content
Character's in Amelie aren't just introduced by entering the left side of the frame and exiting the
right, they often get their own aside accompanied with intense description. The consequence of this
way of character development is the movie holds many round characters that are very relatable.
Richard Barsam and Dave Monahan describe round characters as those with many traits and they
talk about the importance of the resulting connection the audience makes with them (127). The
movie introduces a character named Bretodeau by mentioning how he goes to the market to buy a
chicken that he cooks with potatoes. Suddenly someone that loves this combination of food
identifies with Bretodeau. This is unlike most movies that unravel character traits through how they
react in different situations or just showing them on screen. These elements put together only show a
small bit of the intricacies that surround Jeunet's Amelie, however they tend to have the same
purpose. Amelie focuses on aesthetics and evoking feelings and through, color, music, and character
descriptions one may grow fond of this movie less on the movie as itself, but the feelings it can
bring to the

The Film ' Delicatessen ' : A Parody Of Apocalyptic Genre
The Film "Delicatessen": A parody of apocalyptic genre The Film "Delicatessen" is where comedy,
psycho–horror, cannibalism and romance all intertwine within one another. Set in a fictional small–
town post–apocalyptic France, although this film never addresses whatever political conflict or
natural catastrophe might have led to this apocalypse in the first place as one critic points out
(Tobias). A population is devastated by the effects of famine and must resort to rationing and,
cannibalism. Circus clown Mr. Louison, who has fled from another town where people killed and
ate his chimpanzee partner Livingstone, comes across a Delicatessen at the foot of a building where
many boarders reside. The butcher Mr.Clapet offers him a room in return for handiwork, but his true
motives are uncovered at night whenever a boarder is enticed to the dark, isolated confines of the
stairwell. Apparently food has become so scarce that food has actually become a currency. Basically
people pay for things with bags of corn or split peas...or human flesh. The butcher's daughter Julie
Clapet discovers feelings for Louison, and madness ensues as the two plot to escape. This paper will
focus on the film as being a comedic parody of the typical apocalyptic genre. While also examining
the climate change, cannibalism, collapse of political authority, and the decadence of French culture
that are shown throughout the film.
"Co–directors Jean–Pierre Jeunet and Marc Caro hail from an animation background,

Jean-Pierre Jeunet's A Trip To The Moon
A.) A Trip to the Moon surprised me with all the graphics because I know that it was made in the
early 1900s. I was also trying to see if the props and effects were real physical objects in the scene
or did they manually cut and paste them onto the film. I would be very surprised if they had to cut
and paste things in every tiny film frame to achieve this effect, because it is very time consuming.
For example, when they were pushing the cannon that the guys went in, it looks like a cardboard
cutout, but one of the women just went in. It is interesting how some colorings were very obvious
that they colored roughly onto the film, but many were so neat and well blended in. A Trip to the
Moon also gave a very fascinating perspective on how people ... Show more content on
Helpwriting.net ...
This can be created by using setting, lighting, costume, makeup, staging and performance. An
example of this would be when a character in a scene such as Landa from Inglourious being more
lit–up and visible than the other character. Thus, the audience only focus on Landa. The action can
also suggest that one character is more superior or important than the others in the scene, thus, also
attracting more attention from the audience. The book suggests the mies–en–scene is important
because it creates the magic in the film, for example Melies creating a match–cut with a bus and a
hearse. Therefore, the audiences see it as a bus being transformed into a hearse. I believe that the
location of things in a frame can be important because it emphasizes the actions and make the story
more clear since the audience will not miss out on any important events if their eyes and attentions
are properly directed. Most importantly, the way things are in a frame can suggest different feelings,
meanings and interpretations. One example of how the setting of a shot can affect the viewers is in
Big Hero 6 or in Wendy and Lucy where the first scenes were the locations which gave the
audiences background information about the story and the characters. The setting can also tell where
the events will take place,

Amelie

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