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3.9 Close reading visual texts

3.9 Close reading visual texts. Jean-Pierre Jeunet A Very Long Engagement (2004) and Amelie (2001). Jean-Pierre Jeunet. French director (born 1953) Started making short films while studying animation Largely self-taught Has won several Césars (national film awards of France)

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3.9 Close reading visual texts

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  1. 3.9 Close reading visual texts Jean-Pierre Jeunet A Very Long Engagement (2004) and Amelie (2001)

  2. Jean-Pierre Jeunet • French director (born 1953) • Started making short films while studying animation • Largely self-taught • Has won several Césars (national film awards of France) • Delicatessen, The City of Lost Children,Alien Resurrection • “I love to shoot with a short lens [wide angle] and use warm colours. I love to do that.”

  3. Turned down opportunity to direct Harry Potter and the Order of the Phoenix and Hellboy • Amelie – most successful French film ever made at time of release

  4. Amelie A Very Long Engagement Mathilde is certain her fiancé, Manech, was not killed in World War I. He, along with four other soldiers was put out to die in No Man’s Land (the area between the French and German trenches). In her search for the truth she encounters the horrors of war, and the cruelness of those in charge of it and the wrath of a woman out for revenge. Quirky and imaginative young waitress, Amelie, decides to help those around her find happiness. Along the way she discovers love, but is she brave enough to take the risk?

  5. Patterns and stylistic features in his films • Strong use of colour • Main characters often orphans/parentless • Original/unconventional/quirky characters • Enjoys working with particular actors: Audrey Tatou; Dominique Pinon • “Audrey Tautou looks like a little elf with big eyes, like a deer. She's the perfect actress for me, because she's able to do both comedy and drama. That's pretty rare in France.” • Amelie and AVLE co-written with Guillaume Laurant • Also have same cinematographer: Bruno Delbonnel

  6. Sweet, quirky, complimentary couples • Use of little repetitive gags/jokes • Imaginative heroines • Cinematography: Close ups, crane shots, wide lenses, mise en scene • Use of light and shadows • Omniscient narration • One-by-one introduction of characters • A mix of surrealism/fantasy grounded in reality • Surrealism: representations of the subconscious self through new/bizarre/odd imagery

  7. Thematically: • Lovers who are separated for much of the film (note: in some cases, they are not a couple till the end of the film) – the search for love • The importance of small kindnesses and compassion • Amelie: fate and coincidence • VLE: resilience of love; importance of hope and an unbeatable spirit

  8. Looking at his vision in action: Amelie • 4.45 – Introduction of Amelie • Canted/tilted angles – when Amelie discovers the suicidal fish • High and low angles • Crane shots over Amelie and her mother releasing the fish • Centralised, symmetrical shots (often used with a zoom) – her father and mother cleaning things

  9. Tracking • Introduces characters one by one – Gina, Joseph etc. • Shots are often just a bit off eye level • Small delights • Messages: • The desire/need for human contact and connection • Comparison between those who seek happiness and those who refuse to see it • Enjoy the little things

  10. Cinematography

  11. Colour

  12. A Very Long Engagement • VO introduction of Mathilde @24.30 • NB: there is another similar “who’s who” scene at the beginning of the film, but we will watch a shorter one now for time convenience • Look for similar techniques to those we’ve seen in Amelie

  13. Ie. Cinematography

  14. Director’s purpose • Jeunet uses a range of techniques to establish his quirky world and protagonist • Voiceover provides personal, even intimate details about Amelie and Mathilde’s lives • Exposes their vulnerabilities – one didn’t feel love, the other has tried to harden herself to the cruelties of life • Imagination is central to their lives • Avoids cliché – Amelie is not bitter like her parents, Mathilde will not let herself dream of her missing fiancé.

  15. Narration compliments images – Jeunet allows his audience to escape completely into the world he creates (suspension of disbelief) • Proves colour can be used in different ways for different purposes • Amelie’s red – vibrant, controls the audience’s eyes: we find her instantly • Mathilde’s world is golden and sepia-toned (as you will see it contrasts with the scenes in the trenches – her world is secure, she is loved) • Putting camera above subjects creates a sense of omniscience (like the narrator)

  16. Quirky heroines – these are not “unreachable” figures we can’t possibly relate to • Jeunet wants us to sympathise and identify with them

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