It did things I had never seen done in a movie before. It creates a very deep depth of field where everything is in focus. Here are some more before and afters. The second ones are corrected to be more realistically color balanced.
The first being the original. I watched it on a laptop while sitting in an armchair at my parents house. Another perspective shot carried on through many moments in the film is the overhead shot. Second picture is the technicolor two strip process.
So thats the process. It begins to show the scene and tracks to where a character or moment in the film is moving. I remember when I saw it for the first time.
Dolly shots for Jeunet are almost always very strictly locked off. It then plays off and centers each character in frame and swaps back and forth during conversation. Jeunet loves wide angle lenses and putting his characters very close to the camera.
At the beginning of Amelie, the framing of the shots are more about the single characters and zooming in to the respective characters as it establishes their likes and dislikes. This is how it looks: Combined with the wide angle lenses, a slight tilt up or down can lead to a very dramatic look.
The overhead shot usually does not begin with a character in frame. It gives the feeling of a playground, or something that feels innocent and wonderful. It is usually a bit above or below eye level.
With both the perspective and framing of the shots, what makes this film different from others, is the speed of motion at which a shot is played at. Even just for simple push ins.
Some scenes zoom in very quickly, not giving you a chance to really take in the background, but to focus on the character itself. Most shots place the character or object within the frame, establish the shot, and then move the camera fast or slow into the character or object. One of these scenes is of where it has an overhead shot of water and then slowly moves to show Amelie skipping rocks on the water we were just looking at.
Third image is the two stip photo that has been warmed up. Each shot is beautifully rendered and pulls you into the scene almost literally with the way it establishes the perspective of Amelie, the framing of each shot, and the speed in motion of each scene.
Basically having everything in focus allows you to have a better composed shot from a graphic point of view. One of the biggest elements of the film that struck me was the visual style. It is a very warm film infused with reds and greens. The shots give off so much emotion that it feels like it has a life of its own.
There are several group shots where parts of the story has multiple characters in it to show others listening or in being a part of the conversation.
Another way a low shot is built on, is after showing one character moving into frame, it tracks to the left or right and slowly moves and shows another character interacting with something in the scene.
The perspective of Amelie in cinematography is typically seen from a medium shot and sets up a move into a close up, tracking, or panning shots depending on what the director Jean-Pierre Jeunet and cinematographer Bruno Delbonnel wants you to follow.
I feel like a child when watching this moving, albeit a grown up one. These pieces are only a small portion of what it takes for a film to have a high regard in cinematography. In another moment, it shows the scene and slowly moves around so that you take in all the objects that might be cluttered in the beautiful Parisian setting.
The color blue is only prominent in only a few shots; so few in fact you can probably count them on one hand. First picture is the original. For Tautou they found that the 25 or 27mm lens was just right.Nov 09, · Jean-Pierre Jeunet's "Amelie" is a delicious pastry of a movie, a lighthearted fantasy in which a winsome heroine overcomes a sad childhood and grows up to bring cheer to the needful and joy to herself.
You see it, and later when you think about it, you smile. Audrey Tautou, a fresh-faced waif who looks like she knows a secret and can't keep it, plays the title role, as a little girl who grows /5. Amelie: Interesting Premise and Beautiful Cinematography Essay Words 10 Pages For our second assignment, we are assigned to watch one international film and study it thereafter.
The Amélie Effect By Frédéric Bonnaud in the November/December Issue Right from the start Le Fabuleux destin d’ Amélie Poulain, or Amélie as it's now called in the U.S., was a runaway hit in France—the film has managed to sell seven and a half million tickets, which translates into roughly $40 million at the box office, a sum.
Amelie: Interesting Premise and Beautiful Cinematography Essay Words | 10 Pages. French films. After a brief discussion we have unanimously chosen a French film entitled “Amelie” which was released in and directed by Jean-Pierre Jeunet and starring Audrey Tautou.
Apr 22, · Video-essay critique of the film Amélie. This feature is not available right now. Please try again later. Amelie cinematography essay: amelie film review essays. 12 feb levi fleming from desoto was #movie #reviews.
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