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Critical Analysis of Amelie
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Jean-Pierre Jeunet’s French film Amélie revolves around the story of Amélie Poulain, a café waitress who undergoes a series of adventures to help others’ lives while simultaneously coping with loneliness and discovering her own identity in the world. As the result of a mildly traumatic childhood, grown-up Amélie immerses herself in a uniquely fantastical world, yet this world is visually portrayed in a comically surreal way in order to draw the viewer’s attention to the film’s message. Throughout Amélie, the filmmakers’ use of preternatural color schemes and digital special effects constantly calls attention to the detail and eccentricity of an idealized Parisian world; these elements of visual design thus convey the infectious wonder of daily …show more content…
She does so in the living room of her own apartment, and the space is filled with different yellows and oranges and reds: the table, sofa, cushions, wallpaper, curtains, picture frames, dresser, etc. There is a singular exception in the vibrant blue lamp towards the right side of the frame, which just adds to the strange creativity of this deliberate color scheme. Quite plainly put, the color coordination employed here structures the image and creates setting. The fact that everything in the frame holds such rich coloration points to the sheer detail in the whole room, details that one might not normally notice in real, ordinary life. The warm and brilliant colors accentuate, say, the sharp textures on the sofa, or the bold patterns of the upholstery, or the elaborate design on the living room’s wallpaper. In addition, the film’s use of high-key, three-point lighting complements the coloration because more highlights and less shadows illuminate both the foreground and background in most all shots. The filmmakers’ choices with this type of lighting assists the color scheme in providing the audience with a carefree and whimsical mood the whole way
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
In society we are surrounded by images, immersed in a visual world with symbols and meaning created through traditional literary devices, but augmented with the influence of graphics, words, positioning and colour. The images of Peter Goldsworthy’s novel, Maestro (1989) move within these diameters and in many ways the visions of Ivan Sen’s film Beneath Clouds (2002) linger in the same way. Both these texts explore themes of appearance versus reality and influence of setting, by evoking emotion in the responder through their distinctively visual elements.
Jeunet’s Amelie and Ham’s Tilly enter as outcasts; who long for acceptance and normalcy from the members of their societies. The use of settings in the novel and film are used as a visual representation of Tilly and Amelie’s isolation. Tilly is “detached” at the top of the hill but able to “[see] everything”, just as Amelie is in her high positioned apartment that overlooks the unfairness in Raymond Dufayel and Lucien’s lives. They experience detachment in different ways, with Amelie growing up “deprived of playmates”, never learning the social skills necessary to enter society, and Tilly being isolated, for being “the dangerous one” and sent away from the society at a young age. They are after the approval of everyone around them as the women
The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored.
It is impossible to talk about a Wes Anderson movie without acknowledging its stunning color palettes and quirky storytelling style. In one of his most exemplary works, Moonrise Kingdom, Anderson uses a warm color scheme that blends bright and desaturated colors that ranges from golden yellow, vermillion red, creamy beige, light brown, to even a hint of teal. His color scheme, which is reflected throughout the film’s props, sets, costumes, title design, and camera filters, effectively evokes nostalgia, establishes the summer-like, dreamy mood of the film, and creates a distinct contrast between the different moral values of his characters. However, in the chaotic stormy escape scene and in the costume of Social Services, the visual design deviates greatly from the film’s primarily warm color palette and instead, immerse their visual elements in a deep, dark blue color to show the contrasts in the mood of the story as well as the attitudes of the characters. Overall, Anderson’s visual
Editing plays a vital role in the film Amélie. Jean-Pierre Jeunet uses editing to express the characters emotions and personalities throughout the movie. Without editing, this film would not be able to present a good message to the audience. For example, editing is important when the director adds animations such as the pounding hearts and the talking stuffed animals to emphasize the characters’ emotions within a particular scene. The film uses a mixture of continuity editing and discontinuity editing. For example, continuity editing is present in the scene when Améli calls the phone booth in the park and Nino answers. The two characters have a conversation with the camera transferring back and forth and they speak to each other. There is a
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
It is ironic that the author chose a color so bright and usually defined as being a happy and joyful color. However, this story is not at all joyful, but instead is very depressing and sad. The wallpaper is described in such great detail that is very easy for the reader to picture exactly what the author is trying to
Essential to the look and feel of a scene, lighting plays a key role in the mise-en-scene of The Wizard of Oz. Two basic types of lighting are used throughout the film: high-key lighting and low-key lighting. Used to convey emotion during the opening sepia scenes, three-point lighting also finds practicality here, helping the viewer to get in touch with Dorothy’s sadness, it provides a basis for reality, providing a stark contrast to the color fantasy sequences to come.
The most prominent color in this painting is blue; it is used in the walls, the doors the articles of clothing hanging on the wall hook and some of the items resting on the nightstand. The other prominent color is green, used on parts of floorboards, the window, a part of one of the doorframes, parts of the hanging paintings and the empty vase on the nightstand. Brown is the only ...
generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much 95% of the light used. This really lights up the top of his head, which is bald, but there is no hot spot or reflective element which is good because reflection here would be aesthetically displeasing. The lighting causes dark areas under the man’s eyes, which emphasize the passion and eventually the hatred of what he is talking about. The scene is lit so that the background is completely black, so that the only thing we can see is the man. Even though this is logically unrealistic, the stylistic decision to light in this manner is warranted, since this or any other good film draws heavily upon our expectations and imagination to convey a message or meaning. We as audience accept the unrealistic elements, if they assist in making the story ...
Upon moving in to her home she is captivated, enthralled with the luscious garden, stunning greenhouse and well crafted colonial estate. This was a place she fantasized about, qualifying it as a home in which she seemed comfortable and free. These thoughts don’t last for long, however, when she is prescribed bed rest. She begins to think that the wallpaper, or someone in the wallpaper is watching her making her feel crazy. She finally abandons her positivity towards what now can be considered her husband’s home, and only labels negative features of the home. For example, the narrator rants about the wallpaper being, “the strangest yellow…wallpaper! It makes me think of… foul, bad yellow things” (Gilman). One can only imagine the mental torture that the narrator is experiencing, staring at the lifeless, repulsive yellow hue of ripping
The mood of this film is truly captured in the lighting and the lighting plays a key role in the accenting the humor of the film. “Deep inky blacks and desaturated colors that characterized the look of Jean-Pierre Jeunet and Marc Caro’s Delicatessen” (McGrath). The dark nature of the film is maintained using lighting. This helps to set the mood for many scenes and is what provide the juxtaposition. In the few scenes of the film that are purely comedy the dark moody lighting helps to provide contrast to the humor and makes the character’s actions seem even more out of place and
Forth are Lighting and color. In case of Lighting, this film uses High key light that makes this film look like natural light and feel warm. In the case of color, some scene of this film use warm color to express love and warmth to audience such as in the wedding scene or some scene use dark color to express about sad feeling such as funeral scene and in scene that Rosie knows her dad was died. I think in some scene if you watch it in HD, it’s very beautiful such as in scene that Rosie drinks a cup of coffee and thinks about the past in sunset time because Lighting and color of sunset time is very
Many refer to France as one of the most romantic countries in the world; even the slur “French kiss” embodies the amour of French culture. Director Jean-Pierre Jeunet successfully captures this passion in the film Amélie, the story of a peculiar Parisian girl, played by Audrey Tautou, who positively changes the lives of those around her in the midst of pursuing love. The three main colors of the film are a combination of red, green, and blue, and this RGB color model is commonly known as the primary colors of the spectrum, which are used to create brand-new colors. Since colors play such a pivotal role in our visual experiences, a common motif that is seen throughout the film is the manipulation of colors through different hues and saturations