Amelie Essay

1442 Words Apr 13th, 2013 6 Pages
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…
Jeunet dominantly uses the colours red and green, in the costumes, the set and as a wash over entire shots. The costumes worn by the characters, particularly Amelie, are consistently coloured red and green, as are many of the sets, including the interior of Amelie’s apartment. Jeunet has chosen to use these colours due to their significance in French culture. Green represents peace and harmony, and red is one of the three colours of France, and also represents optimism and kindness, all of which are present in Amelie. (QSX Software Group, 2010)

The mise-en-scene, in particular the camera movements, used by Jeunet help to show that France is the ‘City of Love’, and create a fantasy like wonderland. A variety of different camera movements are used by Jeunet to establish this feeling of a wonderland. The camera movements are often slow, smooth and flow. Over-head shots are often used to establish a dreamlike feel for the audience, and feel as if they are floating through Amelie’s world and Paris. Jeunet has also used the Cinema Verite technique, as in many of the shots it appears the camera is just a fly on the wall. Jeunet was recognized for this at the Academy Awards, where he was nominated for best cinematography (Dickerson, J. 2002). Jeunet’s unique cinematography includes quickly zooming in on something shocking, often someone’s face, such as Amelie’s mother at the beginning of the film. Jeunet also uses shots long in duration,

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