Jean Pierre Jeunet's film 2001, Amelie, is about a girl called Amelie who works as a waitress in Paris. Her life changes around when she returns a box of childhood treasures hiding behind a wall to its grown up owner. Amelie sees the happiness of the person she returned the box to and decides to straighten out other people's lives by making it better or sometimes by making it worse when she thought the person deserved it. Jeunet conveys the sense of reality and fantasy with the use of colors. In the scene that the narrator is telling the viewer about what Amelie likes, Jeunet uses the colors black, green and red.
The first shot of the scene begins with Amelie in the movie theater. The camera starts off with a close-up shot of Amelie's face and it slowly pans across the people's face sitting behind her. The seats in the movie theater are bright red and the people's clothing is mostly green. The colors red and green give the viewer a sense of fantasy and fairy tale. Fairy tales are usually connected to big luscious green woods and beautiful princesses dressed in red. Jeunet shows the feeling of people watching movies in the movie theater with the use of the color red and green. People live through fantasies when they watch movies because everything is so perfect and amazing. The use of the color green and red is used to convey the sense of happiness and fantasy people feel when they watch movies. Part of the happiness can also be seen through the smile of the people sitting behind Amelie.
Jeunet uses the color black, through the use of clips from old movies, in the third and fifth shots to contrast reality and fantasy of films. The third shot is a clip from an old movie of two people kissing, but as pointed out by Amelie, there is some type of insect crawling in the background of the scene. The reality of love and romance in films is conveyed through the insect crawling through the scene making the "perfect love scene" imperfect and flawed.
Sometimes movies lack sound, and concentrate on dialect but not in Amelie. ... Amelie is in the bathroom washing up when she drops a tiny cap to her bottle. ... There are several intensifiers when Amelie reaches her hand into the tunnel to remove the box. ... In the scene Amelie is pushing the doorbell to D. ... The movie Amelie is a very good example of something that you can anaylize semiotically. ...
One such example is the 2001 romantic comedy, "Amelie." ... For instance, in one scene, when Amelie's lover, Nico, walks out of coffee shop where she works, Amelie is completely devastated because she has missed yet another chance and perhaps maybe her last chance to talk to Nico. ... Lastly, "Amelie," is a good example of a cinema de look film because of its emphasis on youth. ... It is clear that Amelie is a unique character. ... Together with youthful and eccentric characters such as Amelie herself, the movie, "Amelie," is a great combination of everything that makes a great cinema de ...
Kent Arceneaux, cinematographer, photographer, and a neighbor of mine, asked me one day if I wanted to help him with a few commercials. ... And then there's the cinematographer, the person behind the lens. ... Along with the writer and the director, the cinematographer has a huge input on what the result is going to be when creating a commercial. ... Cinematographers usually come on board only two weeks before shooting starts, then leave a week into post-production. ... So while directors work on one or two projects a year, a cinematographer could be able to do as many as seven or eight. ...
The knowledge of lenses, exposure, composition, continuity, lighting, colour and language of the camera are some of the key points to know for someone to be a cinematographer. ... Many cinematographers prefer to use older lenses so that final image is subtly soft which is really almost impossible to attain even with latest filters. ... There are a lot of directors and cinematographers who intentionally leave the flare as it is so as to use it a tone or a visual metaphor. ... Another angle widely used by cinematographers is the Dutch Tilt. ... They are more like the invisible gurus behind the...
Jean Rhys" novel Wide Sargasso Sea is a text that explores the concept of madness. It does this from many angles, including exploring the following questions: What is madness? Who gets to define madness? What does madness depend on? The characters that will be analysed in order to understand the...
The chief members responsible for the manipulation of objects in the shot are the director, cinematographer and production designer. ... The cinematographer, Harold Rosson, wanted to make the distinction clear that Kansas and Oz were from two very different worlds. ...
In the past this was very common, but since the tree is too high now, the "man" cannot "go" and bear fruit, neither with Amelie nor Antoinette. ... Night is more a time for his lust, whether with Antoinette or with Amelie, just like in England where nigh time was when the prostitutes came out and lovers hid in their bed. ...
Within this context, Russell Carpenter's role as the cinematographer of the film Titanic is important. ... In the film, Carpenter's co-operation with art department and visual effects department deeply influenced his role in the film as a cinematographer. ... To be specific, working with Cameron was helpful for Carpenter as a cinematographer because both of them were with similar taste. In addition, Cameron's knowledge in photography and set construction was helpful for the cinematographer. So Carpenter's craftsmanship as a cinematographer is the most important factor behin...
