Postmodernism in Amélie (2001)

Postmodernism in Amà ©lie (2001) With reference to key theories studied on the module and one of the films from the given list, critically analyse the image system of the film, and the ways in which supports to convey specific meanings. You must comment on the way in which the narrative, meaning and mood are supported by the formal elements, and draw connections with the relevant historical, cultural and genre contexts. My essay will argue that the image system of Amà ©lie (2001) and the post-modern style adapted by Jean Pierre Jeunet, was one of the key aspects which lead to the film’s huge success worldwide. I intend to explore how the levels of realism and formal elements within the film, develop the narrative and mood, with reference to historical developments in French film and critical viewpoints. To clarify, when I say foreign film, I am referencing the films which are foreign to Hollywood and the other predominant production companies in western culture. The film Le fabuleux destin dAmà ©lie Poulain was highly successful not only in France, but around the world, with a Domestic Total Gross of $33,225,499. It was also nominated for five academy awards including Best Foreign Film (Box Office Mojo). The film has a very distinct â€Å"look† derived from its image system and form, which has become part of French director Jean-Pierre Jeunet’s auteuristic style. He has been described by Eisenreich (2004) as â€Å"the national filmmaker who develops the richest visual world, combined with a technical mastery and artistic sense†. There are many critical essays and reviews written on the stem of Amà ©lie’s success in the mainstream film industry, many putting it down to the feel-good nature of the narrative, others suggesting it was the unique cinematography and mise en scene. Elizabeth Ezra (2008) states that Jean Pierre Jeunet, as an auteur, has a highly postmodern style. I am inclined to agree with this point, as Amà ©lie is such a stylised film that the viewer is rarely emerged completely in the film. The audience is always aware that they are in fact watching a carefully structured and composed piece of work. According to Braudy and Cohen (1999) postmodern cinema is a deliberate mixing of different genres and film styles, pastiche and exposing the nature of a constructed text. As filmmakers, such as Jean Pierre Jeunet, are becoming increasingly aware of their audience’s active role in viewing their films, they have begun to use the conventions of postmodern cinema to their advantage. An example of a postmodern device often used in Amà ©lie is â€Å"breaking the fourth wall† where the character directly addresses the viewer. Amà ©lie looks directly at the camera in many close-up shots. These shots are carefully composed and use a wide lens, creating more depth in the frame. This also distorts her already elfish face, emphasizing her large eyes with an expression that includes the audience in whatever joke or feeling she is experiencing. This technique is an easy way for Jeunet to emphasise her role in the narrative and engage the audience so that she is a sympathetic character to the viewer. As well as the distinct postmodern style, Jeunet seems to take inspiration from older film techniques. In Rà ©mi Fournier Lanzoni’s book French Cinema: From its Beginnings to the Present (2002) it is noted that the locations and characters in Amà ©lie are highly reminiscent of Poetic Realism films, a movement of French cinema in the 1930s that combined â€Å"naturalism and lyrical stylization† (Lanzoni 2002). The majority of the film was shot on location in the centre of Paris; however, unattractive aspects such as graffiti and rubbish bins were digitally removed in post-production. Using this technique meant that even the real modern Paris resembled the poetic-realist sets of the 30s. In my opinion, this approach makes the film feel removed from any particular timeframe, as if it is an ecosystem unaffected by the concerns of the wider world. This also means that it is strongly juxtaposed with the gritty realism of social dramas set in Paris made at a similar time, su ch as Mathieu Kassovitz’s â€Å"La Haine† (1995). Steinberg (2001) argues that this makes Amà ©lie seem highly unrealistic, saying â€Å"Jeunet’s Paris is a thoroughly sanitised version of the real thing; clean, free from honking cars, tourists, foreigners and other complications. Even the beggars are happy in such an idyllic Paris† Adding to the slightly surreal version of Paris created by Jeunet is the bold colour palette, the most dominant colours being red and green, often complemented by yellow. These colours create a very warm and positive tone to the film, as they seem to emulate old footage and perhaps evoke a nostalgic response from the viewer. This again distances the film from modern day, despite the use of modern day technology. The colour red could also be recognised as a motif in the film, as it is present in almost every scene; Amà ©lie’s clothes, the garden gnome’s hat, the flowers and tables in the cafe as well as many other objects. Jeunet also uses black and white when providing flashbacks, such as Bretodeau’s memories conjured by the treasure Amà ©lie leaves him. This may have been done simply so that it would fit with the archive footage of the Tour de France; however I believe that it also provides a contrast with the bright bold colours in the rest of the film. Stanley Cavell proposed that in cinema, often, black and white represents reality whereas bright colour portrays fantasy (Cavell 1979). In Amà ©lie, the narrative is focused on the main character; therefore the abnormal colours used could be seen as representative of her highly imaginative and playful outlook on life. This also suggests that the reality which the viewer is witnessing may perhaps be entirely constructed from Amà ©lie’s imagination. Ben-Shaul (2007) explains that some films attempt to make their simulacrum so believable that it is â€Å"invisible†, so that the characters and situation are the primary focus for the viewer. Others use an obvious range of cinematic techniques to replicate a certain type of reality the filmmaker wants the audience to experience. As previously mentioned, the mise en scene of Amà ©lie seems to be a product of Amà ©lie’s imagination; this means that the film becomes somewhat hyper-realistic. Baudrillard’s theory of â€Å"Hyperreality† (1994) describes when a film blends both reality and fantasy together so seamlessly that it is hard to tell what is real and what is not. I think that this is an essential theory to consider when understanding Amà ©lie, as some parts of the film which might be taken literally, may perhaps be figments of her imagination. However, many aspects of the film show very obvious uses of CGI, such as the imaginary crocodile that Amà ©lie plays with as a child. There are many comical moments in the film, for instance Amà ©lie quite literally breaking down into tears after not plucking up the courage to speak to Nino. There are also more serious uses of special effects, which are very noticeable, yet more subtle, for example Amà ©lie’s daydream of Nino sneaking up behind her in the kitchen. This sequence uses a split screen which resembles a thought bubble, showing Nino approaching Amà ©lie’s back whilst larger section of the frame shows Amà ©lie’s reactions from the front view. The use of these techniques, especially the animation, contribute to the film’s novelty factor, surprising and exciting the audience. If his use of CGI tells us anything about Jeunet’s auteur style, it is that he is not concerned with absolute realism. He enjoys the artifice of film and extends it as far as he can, integrating the fanciful with the actual while avoiding â€Å"cheesiness†. Equally important in creating Jeunet’s uncompromised auteuristic style is the wide range of shots, angles, and editing techniques. Vanderschelden (2007) notes that many of the camera techniques used throughout the film are â€Å"playful†¦reinforcing the light-hearted, cartoon-like tone†. I agree strongly with this statement, as the film is rich with interesting and unusual camera angles and pans, which perfectly reflect the characters portrayed. Montage sequences are liberally used in Amà ©lie, and are a key element to the style of the film. The whole opening of the film appears to be montage, the very fast paced shots of Amà ©lie’s childhood, from conception, to birth, to being five years old, to being fully grown up. According to Eisenstein’s Montage theory, the juxtaposition of opposites or similarities allows the filmmaker to shape the mind and emotions of the viewer. I feel that Jeunet chose to show Amà ©lie growing up at such a roaring pace, juxtaposing her childhood years and adult years, to show the audience how much she has changed and how much she has stayed the same. This device not only adds a â€Å"quirky humour† to the film, but it also introduces the fast paced and frantic tone of the film, allowing the viewer to gain a lot of ‘pointless’ information in a very short amount of time. The use of sped up footage is used throughout the film, accompanied by loud sound effects to keep the pace of the film up. The pacing up also works to create a surreal and quirky feel to the film. An example of this is when Amà ©lie cuts up the letters in a blur of speed. I found this added a little cartoon-like element to the film, as well as allowing the viewer to understand what it happening. Other examples of this in the film are the sped-up linking shots between Amà ©lie visiting the various Bedoteaux (not Betodeau), again accompanied by racing car noise sound effects. Another technique Jeunet uses in Amà ©lie is the use of a handheld camera. An example of this is in the fast paced scene where Amà ©lie takes the blind man by the arm and tells him what she sees. The handheld camera adds to the spontaneity of the scene, as it follows Amà ©lie’s sudden decision to help people. The scene is over very quickly, leaving the blind man stood appreciating what has just happened, and the handheld camera turns into a crane shot which swoops above, highlighting the significance of that moment. Often in films such as Mathieu Kassovitz’s â€Å"La Haine† (1995) the handheld camera is a technique which adds realism and makes the film seem much more dramatic. I feel that in Amà ©lie, the opposite effect is achieved, as the handheld camera is not used extensively, and is only used in times of excitement and joy, such as the final scene of Nino and Amà ©lie riding on the moped in a fairytale-like ending. Instead of adding realism, the handhel d camera conforms to Jeunet’s unique style, and adds to the surrealism of the film. Jeunet successfully uses a lot of panning and tracking, adding also to the fast pace established by the other techniques. For long periods of the film there is constant fluid movement, with the camera circling characters or swooping over scenes. The audience is often placed in an observing position, with the camera standing at a distance to the action. We are used to this convention in film but we are also used to being invited to get close into the action when it is appropriate, for instance if there is an important conversation. There are some occasions in Amà ©lie where we expect to be closer in to the action than we are, for example in the closed cafe, when Amà ©lie suggests to Georgette that Joseph likes her, we are positioned in a corner behind the stacked chairs, as if suggesting that we are eavesdropping on the conversation. This adds an air of secrecy and mystery in the film. An extension of this is when we see the action through a window, or an actual physical barrier, such as the conversation between Amà ©lie and Nino in the cafe where they talk through the glass screen. And removing the audience even further, binoculars and video cameras are used by the characters in the film in some scenes, lending an air of voyeurism to their, and consequently our, role. In addition, the film appears to be shot as a picture. Many of the scenes are framed; each looked pretty as a postcard and reflected her status of an observer. Scenes framed as pictures.

Environmental Factors of Human Growth Essay

You often hear the word environment, but do you stop to think what it really means, what it contains, and how it affects you? The actual definition of environment is the circumstances, objects, or conditions by which one is surrounded (Merriam-Webster dictionary). Your environment greatly impacts the way you are as a human being. Each and every one of your life experiences are influenced by your environment. Your environment determines if or how your potential to develop is reached. Family, friends, home, school, etc. re all components of your environment. By reading further, you will witness these factors that affect your personal growth and development being explored and discussed. FAMILY When children are very young, and spend most of their time with their parents and/or other family members family is usually the major human influence in their life. This is also true about most children when they get older and grow into adulthood. Families provide a nurturing environment in which security, protection, satisfaction, and love are given. Physical needs for food and clothing are met. In this environment family members grow to maturity. In a proper family environment a child has positive surroundings, including positive people. when a child is cared for and loved he/she gets ample nutrition, clothing, shelter, rest, interaction/attention, etc. these things help the child grow physically and mentally. the child is surrounded by positivity, therefore the chances of the child maturing into a positive individual are very high. however if a child is raised in an improper family environment, most likely, the opposite will result. e/she will be deprived of the opportunity to fully develop, and has a higher risk of harboring negativity as they age. In the early years families need to meet a baby’s physical, emotional, and social needs because they are helpless on their own. Eventually, babies discover they are independent and can do things on their own. Family members can provide an environment that promotes the growth of independence and set tasks for children to do by themselves. Families can also help children learn how to fit into their surroundings. An environment with well defined limits helps young children learn to control their own behavior. A household with reasonable rules and regulations set by parents/guardians gives children a sense of how to be well behaved. The teen years are years of self discovery for teens as they start to depend less on their families. One way your family can encourage your growth as a teen is to allow opportunities to make personal decisions. Taking more responsibilities helps you develop the capability to make your own choices. An encouraging and supportive family environment can help you develop healthy relationships with others. This is because you get knowledge about the way relationships work from your family. It is very hard to develop relationships with any other person if a strong family relationship isn’t established. Family Structure: The way a family is structured affects the way a child is raised. For example, a child may only live with one parent, a step parent, their grandparents; there are many combinations of a family structure. Changes in family structure can often affect the family’s ability to provide a stimulating environment and can either be negative or positive. There may be more or less money, time/family members to listen, share, encourage, and guide each child. Siblings: Brothers and sisters can be a source of fun, conflict, or competition. They can also learn from each other. Siblings usually continue to interact with each other into adulthood, which can be beneficial to the both of them. Siblings learn to share and cooperate when they interact which, when learned young, instills these habits so that children can share and cooperate with others throughout life. CULTURAL HERITAGE Your family’s guidelines and beliefs are part of your heritage. The holidays, food, and religion your are accustomed to are part of your culture. Families pass on their customs and traditions to their children. Your culture and heritage usually help determine many decisions you make in your future. For example, most of the friends you make and keep will probably be of the same heritage and culture you come from. The places you go, like church, celebrations, festivities, etc. are determined by your cultural background. Multicultural influences can altar your relationships with family members as well as impact your values and expectations for your future family. Odds are, if or when you have children you will transfer those same beliefs and traditions that you are used to to them. SCHOOL A quality school environment provides a setting that encourages students to learn and grow. After school activities can provide chances for students to interact with others in clubs or sports. Class curriculum offers courses that stimulate students’ intellectual growth. Teachers in a quality school environment encourage students by helping them find areas in which they succeed. Teachers also help students find areas in which they need to improve. By doing so, they help students know what decisions to make regarding how to get the most efficient education for them and how they learn best, especially when they get to college. PEERS By interacting with your peers you can make judgements about how you look because you begin to compare your appearance to theirs; how important you are because you compare how much attention they get with how much you get, and how successful you are. The friends you choose now are likely the kind of friends you will make later in life. Your peers can also influence the plans you make for your future. Good friends usually like to stick together so you’ll often make similar choices about things like school, clothing, activities, mutual friends, etc. Sometimes your peers make choices that you feel are not right for you. This gives you a sense of things you’re comfortable with and things you’re uncomfortable with. COMMUNITY There are many different types of communities. Each one has its own influence on the people that live there. The community environment is influenced by resources available. Industries or business provide job opportunities for community members. A low crime rate and pleasant surroundings make residents feel secure and protected. And shopping facilities offer convenience. Also, factors like air quality and cleanliness in general affect the health of community members. Growing up in a community with many resources tends to make a good impression on those that reside there. When that is done, people stay in that community. This prevents constant moving and drifting, so the chance to remain established and comfortable is given. TECHNOLOGY Technology is used in our lives everyday. New technologies influence the items you buy, clothes you wear, and things like that. The biggest way new technology has impacted our society is the fact that it has resulted in a higher standard of living. For example, more goods are cheaper, labor-intense jobs are less popular, and health care has improved. Technology can be a negative thing too. Dependence on technology can cause people to judge their quality of life by material things and money, which can lead to the neglect of the growth of personal relationships. Technology can also cause people to take their intelligence for granted. Technological thinking patterns can cause people to think of quick fixes to real life issues that take thorough thinking. This doesn’t usually work out well. MEDIA Television, radio, movies, videos, newspapers, magazines, etc. are sources of entertainment and information that affect peoples lives. Media can influence people’s thoughts, viewpoints and decisions without them even being completely aware of the affect it has on them. For some members of society, the people on television are models for them to imitate. They also provide an image for developing friendships and relationships. These images are often false and unrealistic, which causes people to have superficial personalities and appearances. The effects of advertising include how yous spend your money, and choices you make about the items you purchase. Ads stimulate sales and goods of services from different companies so that they can make a profit and establish a good company name. Advertisers are well aware of what appeals to certain people because they do extensive research on these things. Being aware of how advertisements influence you in your daily life can help you make wiser choices.

Can Macbeth Be Described As a Shakespearean Tragic Hero? Essay

A Shakespearean tragic hero is described as a man who has many good qualities, shows regret for his crimes and is of high birth and position. At the start of the play Macbeth has all the qualities of a tragic hero as he fights for King Duncan and kills their enemy Macdonwald. In Act 1 Scene 2 Duncan says, â€Å"Nobel Macbeth hath won† recognizing Macbeth’s heroism he is titled Thane of Cawdor. At the end of the play Macbeth is described as a devil, he is overcome by ambition and determined to succeed. This has a disastrous effect on him and this one flaw in his character brings his downfall. All the people that surround can see that he has changed. He is no longer a hero but an evil villain and this is the way that people think of him. In Act 1 Scene 3 Malcolm describes Macbeth as â€Å"black Macbeth† and in Act 5 Scene 8 Macduff calls him â€Å"a hell-hound†. Both these quotes show that people who once thought of Macbeth as a hero now think of him as corrupt and malicious. Macbeth’s ambition is to be a leader and respected man but when the witches prophesize that he become king he sees power greater than he had ever imagined possible and nothing will stand in his way, even if it means killing his best friend. Macbeth’s ambition is his downfall. Before the murder of Duncan he shows reluctance to kill the king, â€Å"We will proceed no further in this business†. However, Lady Macbeth convinces him that he should proceed with the murder of Duncan. Macbeth is then full of remorse for what he has done and feels shame and guilt for his actions. This show of regret keeps the audience’s sympathy for Macbeth. It is also a feature of a tragic hero. By the end of the play Macbeth has forgotten guilt and fear. He is thinking only of himself. At points in the play Macbeth shows weakness and Lady Macbeth drives him on. When Macbeth shows his reluctance to proceed with the murder of King Duncan Lady Macbeth in Act 1 Scene 7 tells him he would â€Å"live a coward in thine own esteem† and tells him that if she had made a promise as he had she would have carried it through. Another point of weakness for Macbeth is the killing of Banquo and his son Fleance. He cannot bring himself to do the deed himself and so employs men to carry out the act for him. In this play Macbeth commits horrific acts of evil, in cold blood he murders Duncan, a murder that Macduff describes is Act 2 Scene 3 as, â€Å"most sacrilegious murder†. He then orders the murder of Banquo and his son Fleance. The murderer then comes back in Act 3 Scene 4 to tell Macbeth that Banquo is â€Å"safe in a ditch he bides, with twenty trenched gashes on his head†. Then Macbeth murders Macduffs innocent family, his children, wife and everyone else at his home. In Act 4 Scene 2 Macduff’s son is killed as he attempts to save his mother, as he is dying he says, â€Å"he has killed me, mother, run away, I pray you†. At the end of the play Macbeth looses all his friends. They realize that he was responsible for the horrific murders and that he has changed. Along with the support of his allies Macbeth also looses the sympathy of the audience because of his lack of remorse for the actions he has taken. However, in Act 5 Scene 3 he fights bravely to the end, â€Å"I’ll fight till from my bones my flesh be hacked†. Act 5 Scene 5 â€Å"at least we’ll die with hardness on our back†. When Macbeth is killed by Macduff he dies bravely and still with his pride. Then Malcolm is proclaimed King of Scotland. In this play there are other heroes besides Macbeth. Banquo is also a brave and honourable man. Duncan refers to him in Act 1 Scene 4 as, â€Å"noble Banquo† and an example of his bravery is when he tries to save his son’s life. In Act 3 Scene 3 Banquo dies saying, â€Å"fly good Fleance, fly, fly, fly†. Macbeth, Thane of Glanis is portrayed as a noble hero at the beginning of the play. He fights well for his King and country bringing about success in battle. He is loved and respected by the people for the qualities he demonstrates loyalty, bravery and honour and is rewarded for this with the title Thane of Cawdor. Macbeth therefore shows he has the making of a tragic hero. However, as the play unravels a dark and sinister side of Macbeth becomes apparent. He has a flaw, that of blind ambition. He will stop at nothing to get what he wants, the title of King. He would not have ever dreamed that this could ever have come about if not for the prediction of the witches. This was Macbeth’s downfall, that he now thought it possible that he could aspire to become King. He would allow nothing or no one to stand in his way, he believed it his destiny. The encouragement of Lady Macbeth made it so much easier for him to carry out the dreadful deeds needed to attain his ambition. This change of character resulted in his demise. The audience can not forgive him this selfish and immoral defect in his character. Anyone who could kill a friend and the entire family of another deserves a bloody end. Justice prevails at the end. So while Macbeth was in some respects a tragic hero he does not retain the sympathy and respect of the audience throughout the play.

Children Children And Education - 1762 Words

Children And Education Gisselle Frattini Keiser University Children And Education Introduction The World Health Organization created the prerequisites of health back in 1986. They decided that the fundamental conditions and resources of health should include peace, shelter, education, food, income, a stable eco-system, sustainable resources, and social justice and equity. (The Ottawa Charter for Health Promotion, 2017). Today we face a social issue that affect many children in United States and the world, lack of education. In this case, I want to examine children affected specifically by poverty and bullying. Why I decided on this two factors? Because is something that I see day to day. According Lessne and Yanez (2016) one in†¦show more content†¦It ensures not only survival but also the general satisfaction of the species. It’s, therefore, integral to health. The prerequisites and prospects for health cannot be guaranteed by the health sector alone. It requires an inter-sectorial approach as has been shown above. Each citizen, community, societies, nation s and the world as a whole must play their part. Each person should bear the responsibility of their actions and consequences of such actions to health. The health sectors should mediate between these diverse sectors with differing interests to achieve health of every individual in the community Belonginess Human being have a strong need to feel inclusive in all aspects of live. The sense to belong to our community increases our chance to maintain a good health. It is the human nature to build relationships by doing and participating in things together. Most of us create relationships by being part of a family, community, or organization. Belonginess includes things such as family, home, friends, acceptance, land and closeness. This sense to belong to something and to have a support system in our life is what encourages us to keep growing. Maslow believed that belongingness was so important in human life that an absence could result in a sense of maladjustment, lowliness and alienation (1987). It is believed as well that the need to belong has a strong effect on a person’s emotions, cognition and behaviors and negative consequences can deeply affect a person’sShow MoreRelatedEducation For All Handicapped Children Act Essay774 Words   |  4 Pages94-142 of 1975, also k nown as Education for All Handicapped Children Act (EHA) is huge leap in the right direction for all children with disabilities. 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