Film analysis of amelie using cinematography visual effects and thematic elements

Continuity editing exists for the purpose of creating a logical and smooth flow of shots throughout a film, keeping the plot in line and moving in a particular direction. Conversely, discontinuity editing throws a wrench into the flow by changing the direction, speed or location of shots in an abrupt and sometimes nonsensical manner.

Film analysis of amelie using cinematography visual effects and thematic elements

His is an outlandish, numinous, discomforting aesthetic, purveyed across several art forms, where the texture of dreams, and nightmares, can suddenly colonise an apparently stable and homey world, where humans peel apart and become separate entities coexisting in different versions of reality.

Lynch has purveyed that style since his early short experimental films, and the grotesque and startling debut feature Eraserheada film that so impressed Mel Brooks he hired him to direct the Oscar-nominated hit The Elephant Manwhere Lynch successfully synthesised his unique imaginative reflexes with more familiar storytelling needs.

Perhaps the only other voice in modern American film so resolutely self-directed is Terrence Malick, and the two stand in near-perfect polarity: Lynch is as dedicated to trying to charting his sense of the tension between conscious and unconscious as Malick has been in describing his vision of the transcendent.

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As specific and perpetual as a beloved figure of the wilful fringe as Lynch seems now, there was a time in his career when he was a hot property and seemed poised for a relatively ordinary film career. That project turned out to be dismaying experience for Lynch as it was severely recut and released to poor reviews and paltry box office.

And yet the experience of it seemed to have an ultimately positive effect on Lynch, who reoriented himself with newly gained technical expertise, and looked for a new way to express himself on his own terms whilst refusing to retreat back into cinema marginalia. With his next film, Blue Velvet, Lynch began a push back in the other direction, slowly nibbling away at his own carefully falsified notion of normality and subjecting it to the perverting whim of the id, and he managed the mischievous project of remaking a subcontinent of pop culture in his own image.

Lynch also pulled off a remarkable feat in relation to Horror cinema, as he found a way of making the form arty and respectable. After the days of high expressionist cinema, when it was the genre most fit for artistic experimentation thanks to the likes of The Cabinet of Dr Caligari and Nosferatu: Lynch has had a lot of influence on ambitious horror cinema in this mode of late, but in other ways he remains radically at odds with it.

Lynch worked to create a charge of disquiet by boiling down a nightmarish lexicon of sights, sounds, and ideas, sometimes but not necessarily desiring to link them to any clear sociological or psychological idea, beyond his certainty that to be human is to be filled with some dank and distressing impulses as well as noble and upright ones.

Blue Velvet is the film on which Lynch struggled to articulate the strangely alluring gravity of the dark side, and it remains probably his finest articulation of his obsessions as well as his most controlled.

Blue Velvet sets images at war with each-other, less any concept of the real world than of inherited ways of seeing it. Lynch sets up his war in the opening scene as he offers languorous shots of well-scrubbed normality — children out of school crossing the street, waving firemen on the back of a fire truck — that aim for a hyperbolic sense of placid, wholesome Americana.

A suburban father, idly watering his green lawn, suffers a stroke, collapses in agony on the grass, and lies in a writhing fit, his dog playfully snapping at the spurting hose in his agonised grip. Jeffrey is confronted by the grotesque sight of his once-strong and commanding father stuck in a hospital bed with a stern array fixed about his head to keep it still and secure, and the two men weep at the inevitable spectacle of the younger seeing the elder in such a state.

Walking back homewards across an empty lot, Jeffrey happens upon a disquieting find: Sandy has a football-playing boyfriend, Mike Ken Stovitzbut she quickly falls under the sway of slightly older, slightly more worldly Jeffrey, who entices her with an adventure into illicit zones but remains plastic-wrapped as the perfect blonde suburban virgin.

Dorothy hears Jeffrey in his hiding place and drags him out under duress with a kitchen knife in her hand. Dorothy is initially anxious and furious, but that quickly dissipates as she considers the handsome young man in her thrall, and in short order has him strip down, seemingly excited by having a pillar of tall and tender young male flesh at bay.

Jeffrey is treated to a brutal spectacle as Frank repeatedly punches Dorothy, stuffs scraps of actual blue velvet in both their mouths, and rapes her on the carpet.

Tables are soon turned as Dorothy, left alone again as if the invasion never happened, drags Jeffrey to her bed to be initiated into the nocturnal universe. Soon Jeffrey is her regular lover whilst romancing Sandy in a more familiar daylight fashion. Jeffrey experiences dreams in which Frank is a roaring beast of the veldt, and the fires of transgressive passion are first a flickering candle and then a roaring curtain as he taps the same vein of visceral sexuality in himself.

Lynch conflates Hitchcockian tropes at high speed — the snooping neighbour of Rear Windowthe wicked knife of Psycho — and then moves right past them to actively portray the stew of desire and complicity Hitchcock was usually obliged by censorship and genre parameters to only suggest.

More than that, he approaches drama in a fashion that, although its draws on a panorama of modernist concepts, ultimately reveals itself to work more like ancient myth, its characters talismans for the human condition rather than psychological units unto themselves in the modern manner.

Much as Heracles could be cosmic hero and bestial murderer depending on the forces enacted upon him by the universe and fighting all the while to define his true self, Jeffrey contains the seeds of hero and villain within and feels both serpents stirring and uncoiling.

Lynch is genuinely, powerfully fond of that lost idyll even as he seeks to diagnose the forces that make childhood and adulthood such irreconcilable states. Sandy is quick to forgive Jeffrey his transgressions in the name of love, as he acts for her in a similar way that he acts for the audience, the one sent out to report back from the fringes and give loan of vicarious thrills.La notte / Emanuele Cassuto presenta un film di Michelangelo Antonioni soggetto e sceneggiatura, Michelangelo Antonioni, Ennio Flaiano, Tonino Guerra un film di coproduzione, Nepi Film, Sofitedip, Silver Film prodotto di Emanuele Cassuto regia di Michelangelo Antonioni.

Oct 04,  · Amelie Shots & Text Analysis In Amelie's film the shooting and the camera work is amazing; it's based on classic shots, but it also introduces new or not often shots/concepts.

Film analysis of amelie using cinematography visual effects and thematic elements

An example of a classic shot is OTS, and also when the camera is on the floor the audience sees both, her feet and other character or characters. Film Theory for example had The Gold Rush, The Jazz Singer, The Lady from Shanghai, The Paradine Case, The Big Sleep, The Discreet Charm of the Bourgeoisie, Being There, Alien, Nashville, Hour of the Furnaces, Dead Alive, Brazil, and Jurassic Park.

Dec 30,  · 29 thoughts on “ Color and the look of a film – Visual Analysis ” Mark Georgeff on December 30, at pm said: Do this same, exact manner in my scripts and get shut out for directing on page.

in Cinematography, Visual Effects, and Motion Graphics. Introduction to equipment checkout, camera operation and lenses, picture composition, Focus on combining visual elements from a variety of sources into a composite motion graphic.

Projects include film titles, logo animation, Media Arts and Filmmaking (MARS) - Cuyahoga Community. Jan 05,  · In the following paragraphs, the film elements of genre, acting, cinematography, editing, sound, style/directing, social impact, scholarly analysis, and storytelling will be analyzed in application to the film entitled Friday the 13th.

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