USING A SHOT-BY-SHOT ANALYSIS FROM AT LEAST
USING A SHOT-BY-SHOT Analysis FROM AT LEAST ONE FILM CRITICALLY DISCUSS THE FILMS OF THE FRENCH NEW WAVE, THE NATURE AND REASONS FOR THEIR RESPONSES TO THE ‘CINEMA DU PAPA’ AND AMERICAN CULTURE.
AMELIE ( 2001 ) , DIRECTED BY JEAN-PIERRE JEUNET.
Amelie ( Audrey Tautou ) is a waitress in a Parisian cafe who daydreams of love, and life’s great enigmas. The find of a Sn box incorporating childhood souvenirs, hidden in the wall of her bathroom, sets Amelie on a mission to return it to its proprietor 40 old ages after the privacy. Sing the felicity this reunion brings to the adult male, Amelie sets out to right wrongs and to better the felicity of her fellow human existences. It is in her chase of a cryptic adult male, who collects discarded exposure from photo booths, that Amelie realises that the manner to happiness requires an individual’s ain attempt and inaugural. With a dramatis personae of Wyrd and fantastic characters, ( a hypochondriac tobacconist, failed author, barbarous grocer, recluse creative person, sort stripper, going dwarf, a speaking exposure, lamp and picture ) , Jeunet uses far-out temper and eccentric subplots to research the complexness and capriciousness of human being.
Bordwell and Thompson argue that movie signifier is instrumental to audience engagement, affecting the audience as they, “watch a form which has become a deliberate portion within a self-contained whole” . [ 1 ] The spectator can be disappointed or have their outlooks fulfilled. The induction of an emotional response from the audience is exemplified in a scene which presents Amelie merely as she has left the adult male holding returned his box of memories. The voice over of a adult male, who has narrated from the film’s beginning, has told us of the “strange feeling of complete harmony” Amelie all of a sudden felt after successfully finishing her mission. A low angle shut up shooting focal points on a unsighted man’s stick being continuously rapped against a paving. His legs are all we see. The nondiegetic sound of a high pacing French mouth organ plays out. The sound of the walking stick additions in volume and beginnings to repeat. A close-up of the man’s caput shows his profile as he looks one manner to the other in readying to traverse the busy route. He has white hair and gray visual aspect, his tegument wrinkled and worn with age. Car horns sound out. A cut and the camera zooms in on Amelie’s face as she watches the unsighted adult male from buttocks. She wears ruddy, as she does throughout the movie, and has short black cropped hair with a periphery. Her big dark eyes stare in front. “Let me assist you” she says to the adult male, instantly taking his arm and assisting him to traverse the route. “Off we go! ” They walk rapidly, the camera cinematography from buttocks. “We merely passed the membranophone major’s widow” , Amelie tells the adult male as they cross. The handheld camera pulls back to demo a adult female dressed in a ruddy soldier’s uniform traversing the route. In a two shooting, the adult male looks up at Amelie as she directs him onto the other side of the route. The two shooting continues throughout the scene, set uping the shared minute of this experience for the two characters. Amelie describe all she sees as she holds on to the blind man’s arm. She speaks clearly and rapidly, fiting the fast gait at which they walk. “The horse’s caput on the butcher’s has lost an ear” . A low angle shooting shows the Equus caballuss head from Amelie’s point-of-view as she passes. The sound of laughter. Amelie explains, “That’s the florist laughing. He has crinkly eyes” . A medium near up shows a adult male laughing as he passes a adult female flowers. A two shooting shows the unsighted adult male listening contently as Amelie narrates all she sees. A close up of a window shows a china caput with ice lollies coming out of it on both sides. “In the bakeshop window there are lollipops! ” Amelie exclaims. The camera tracks a medium shooting as the twosome make their manner along the hustling avenue. A close up of a adult male merchandising melons. A whip pan from the adult male, falsifying visible radiations and sounds, focal points on another stall bargainer. “Sugar plum ice cream” , Amelie laughs. A adult female serves from a counter. The unsighted adult male smilings. A close up of a butcher’ base with rows of porc sausages. A close up frontal two shooting shows the twosome walking at gait, the unsighted adult male hearing and Amelie is smiling. “Now the cheese store. Picadons are 12.90. Cabecous 23.50” . A stopping point up shows a woman’s manus raising some cheese from a glass counter. The frontal trailing two shooting focal points on Amelie as she speaks, with the blind man’s face partly out of frame. There is urgency to their advancement. Amelie speaks fast and the camera tracks as they walk at velocity. The high pacing music is still playing. “At the butcher’s a baby’s watching a Canis familiaris that’s watching the poulet roasting” . A medium near up shows a babe express joying in a baby buggy, a cut to a Canis familiaris puffing with it’s lingua hanging out, followed by a whip pan to a low angle shooting of a line of poulets turning on skewers. A tracking medium shooting frames Amelie and the adult male keeping his stick. They are through the crowded street. “Now we’re at the newspaper booth by the metro” . A craned camera swoops about. A medium long shooting shows the dorsums of Amelie and the adult male as they pass a booth and enter into the big station. Stairss dominate the right side of the frame. Amelie says “I’ll leave you here” and instantly Lashkar-e-Taibas go of the adult male. The aerial camera tracks her as she runs up the stairss. She turns left to look at the adult male as she reaches the top of stairss, the camera turns besides. A 180 grade Crane shooting focuses down, over the stairss and people below, on to the unsighted adult male as he stares upwards to the sky. A computer-generated bright xanthous visible radiation surrounds him, like a hallo. The aerial camera rapid climbs in to a close up of the blind adult male, lost in the xanthous visible radiation, as he stares up to heaven, his bluish eyes broad unfastened.
Amelie exemplifies the manner in which a filmmaker’s geographic expedition and reading of, “the antic possibilities of the film as a medium of communicating and expression” [ 2 ] can bring forth a extremely original piece of work which attracts both audiences and critics likewise. The shot-by-shot scene analysis is declarative of the movie as a whole. As Amelie walks rapidly through the street to the station, to follow the adult male she loves, the audience’s attending is drawn into her heightened province of emotion. The rapid gait of their walking, the consistent close ups capturing their faces, the speedy cuts to Amelie’s point of position, the attending to facial looks of the people she describes, the usage of a whip pan as the velocity at which they walk additions, and the focal point upon heightened senses as Amelie negotiations of all she sees, hears, odors ( even gustatory sensations, with images of nutrient looking throughout the sequence ) .
The kernel of the term ‘film art’ lies with the construct that every facet of the movie is brooding of a personal and alone ‘vision’ . In the 1950s, the great Gallic film maker and critic Francois Truffaut coined the phrase, ‘la politique diethylstilbestrols auteurs’ , which asserted that film makers were the ‘author’ . They, he argued, had utilised the film as a agency of personal artistic look, and in making so had created their ain alone cinematic manner. David. A. Cook writes ; “as a critical premiss, the auteur theory led to the rejection of the “tradition of quality” in Gallic cinema…with its to a great extent literary/theatrical orientation.” [ 3 ] It was this unfavorable judgment, known as ‘Le Cinema du Papa’ , that established the tract to the stylistic revolution in filmmaking, the ‘New Wave’ ( Nouvelle Vague ) , that laid the manner for future filmmaker’s, like Jean-Pierre Jeunet.
Jill Forbes considers that the managers of the ‘New Wave’ motion, “brought into their movies a consciousness of the history of the cinema” . [ 4 ] In Amelie, Jeunet follows this tradition. The geographic expedition of the subconscious head had been explored before in filmmaking, by the Surrealist motion which arose in 1920’s France in response to the slaughter of the First World War. The Surrealists, ( led by Spanish painter/filmmaker’s Salvador Dali and Luis Bunuel ) presented their audience with images “unhindered by such nonsubjective correlates as the furnishings of mundane existence” . [ 5 ] The movies depicted random images in dream-like sequences, such as emmets creeping through a hole in a manus, an oculus ball being spliced unfastened, a adult male submerging in sand. Ramona Fotiade argues that the Surrealist movie concentrated on the “essentially ocular nature of the medium” . [ 6 ] The desire of the filmmaker’s was to arouse the ideas of their audience, as opposed to chiefly entertain them. Surrealism was a motion founded upon experimentation and invention. In Amelie, Jeunet’s geographic expedition with computing machine generated imagination ( a cloud is shaped as a coney, a adult male in a snap shooting negotiations, a statue’s eyes move, a picture speaks ) , reverberates the experimentation of the Surrealists as movie engineering quickly developed. Amelie is digitally enhanced with green, bluish, ruddy and xanthous, stressing the film’s nostalgic and charming quality. The sky is clear blue, the edifices yellow and without markers, the grass bright green. Jeunet says of the movie, “I wanted to do a bogus Paris, a really nice Paris, like in my caput when I was 20 and arrived in Paris for the first time.” [ 7 ]
Conventional mainstream film sets out to suspend the audience’s incredulity, to plunge the spectator in the film’s narrative, without pulling attending to its building. Like the Surrealists and the ulterior ‘New Wave’ film makers, Jeunet intentionally calls attending to his cinematic devices when conveying his audience into the dynamic ‘world’ of Amelie’s desires and imaginativeness. The camera plays an of import function in the scene discussed in the shooting analysis. The rapid climb in on Amelie’s face, her big watchful eyes, sets the scene as we join her on her following mission. We retain her point of position throughout the movie sequence. The audience follows the journey down the street and at each minute that Amelie describes what she sees to the blind adult male the camera shows it to the audience. The usage of the whip pan, aboard Amelie’s rapid narrative as she walks faster, efficaciously captures her heightened emotions as she rushes to the station. The non-diegetic sound of the French mouth organ cuts out the sounds of the busy street filled with autos and people. Amelie’s uninterrupted duologue throughout the scene as she walks with the blind adult male efficaciously draws the audience off from the hustling street to the experience she and the adult male are holding. They are in their ain ‘world’ , sing their ain world. At other times in the movie characters straight address the camera, their audience, with words or facial looks. This is an effectual agencies of concentrating the attending of the spectator and directing their ideas.
Ramona Fotiade argues, “what situates Surrealist commentaries on movie within modern-day arguments is the insisting on the ability offered by the new medium to ‘visualize dreams ‘ , to bridge world and imagination” . [ 8 ] Freud’s psychoanalytic theory of the suppressed kingdom of the human head was cardinal to Surrealist’s thought. The belief that ideas and feelings, and associated memories, could non be dismissed from the head ; that the encephalon is ever subconsciously showing itself. In his movie Jeunet besides plays with this construct. Amelie is a movie which celebrates and exaggerates the impression of love, and look of emotions in a extremely original manner. It is a fairy narrative narrative in which the subconscious head is set free. Amelie is able to accomplish her aspiration to guarantee others happiness in a universe that is ‘super real’ because she chooses to see life otherwise. A bully doesn’t ever have to be a bully, a married woman can believe that her long lost hubby will some twenty-four hours return to her, Amelie’s male parent will one twenty-four hours take to go forth his place and travel, a garden dwarf can go the universe, a photo-collector can fall in love with her, a unsighted adult male can see one time once more. The feel-good subject that anything is possible reverberates throughout the movie, as ; in non quashing her ideas and desires, Amelie’s dreams go a world.
Bordwell, David & A ; Thompson, Kristin.Film Art, New York: McGraw Hill. 1990.
David A Cook.A History of Narrative Film. London: Norton. 1981.
Jill Forbes, ‘The Gallic Nouvelle Vague’ , in John Hill & A ; Pamela Church Gibson,The Oxford Guide to Film SurveiesOxford, Oxford University Press: ( 1998 )
Ramona Fotiade,The Untamed Eye:Surrealism and movie theory. Screen: Volume: 36. Issue: 4. Publication Year: 1995.
Kay McLeish.A Guide to Human Thought. London: Virgin. 1993.
Peter Wollen.Signs and Meaning in the Cinema. London: BFI, 1998.