Amelie

“La Haine”, a 93 minute film regarding about three adolescents(Vincent Cassel, Hubert Kounde, and Said Taghmaoui) who struggle to cope in a poverty-stricken environment in which hatred and violence are part of everyday life. Even the title “La Haine” which is a French word, translated to 'The Hatred' suggests what the film is about. Based on a true event, “La Haine” is inspired by a real event where a young man was murdered while being questioned at a Parisian Police station. In exploring racism in the Paris suburbs, this film has a direct contrast with more typical French films, such as Amelie(2001) which presents a far more romantic and idyllic vision of French life. The beginning of La 'Haine' shows the beating of a

The image is brighter and sharper in the film. The contrast of the film really affects the mood. Since the contrast is so bright the viewer is bound to stay focused and aware because everything is so catchy and noticeable. Also, the exposure changes throughout the film. At the very beginning the film starts in black and white and changed to color as the story progressed. The filmmaker uses a lot of Long Takes, each shot of Dorothy meeting someone new is pretty lengthy.

First, I loved the Paris setting of the movie, which allowed the French language into the movie dialogues and songs lyric. This added elegance and sophistication to the movie itself. For instance, in the first song “Les Girls”, the song lyrics were composed of both French and English which made it admirable. Because France already had a romantic atmosphere, the romance in love scenes were enhanced. And even when scenes weren’t romantic, characters saying things like “Ca C’est L’amour” and “Love is a soufflé, and not a pudding” simply made Paris the city of love people claimed it to be.

Home to just under 7000 people, the town of Montmorillon is located in central-western France, just under an hour from Poitiers, the region's capital. From Paris, take a train to Chateauroux and make the drive from there, or take the nearly four-hour scenic car route from the nation's capital, cutting through the lush Brenne Park, full of natural wildflowers and small lakes. An overnight stop in one of the tiny villages or "communes," as they are locally known, provides an opportunity to stay at ancient castles, admire long-disused churches or splash and frolic in one of the many small lakes along the way.

The film has the very noticeable visual style and artwork, with bright, dreamy, watery, pastel colours, Miyazaki always creates. Everything in the film was animated by hand with the traditional technique. The backgrounds were created in pastels. In addition, the film is dealing with the relationship humans have with the environment, a theme you often see in Miyazaki’s films.

Bloom’s article talks about Beur Cinema and traces how the meaning of Beur evolves with the changes in immigration policies. Beur Cinema challenges the tradition notion of what consist true Frenchness and suggest an identity politics emphasizing on the second generation of immigrants. Bloom also mentions that the Beur has became a misnomer after the Gulf War. In La Haine, there is a theme of hybrid identity. Vinz sees himself as an Honorable Arab even though he is actually Jew. For the youth in the banlieues, they are all marginalized despite of their cultural differences.

In addition the effective use of dark colours such as green, black and brown plays a huge part in portraying the danger and confusion that takes part throughout the film representing death and the unknown.

The first time colour is used is when the grandma is telling the story of Edward Scissorhands to the little girl in the oversized bed. Visually, this scene is reminiscent of fairy tales and is another means used by Burton to indicate the purpose of his story. The two worlds are contrasted visually by the use of colour, the kitsch pastel colours and uniform shapes of the suburban houses differing completely from the black and white of the derelict castle. The suburban world is apparently perfect with its cloudless blue sky, spotless houses, well-kept gardens and stereotypical inhabitants who are contrasted with the imperfection of the 'unfinished' Edward

The French New Wave movement was a catalyst in the advancement of the history of cinema, it marked a watershed between the old ways of filmmaking and the birth of modern movies. Films from the movement broke technical and visual boundaries that transcended French borders and time. Today, filmmakers from all across the globe continue to utilize the techniques set in place by the influential auteurs of the movement. Most notably, the works of the founding fathers of the French New Wave, François Truffaut and Jean-Luc Godard, hold an indelible impact on modern filmmakers such as Wes Anderson. Specifically, Anderson's films Moonrise Kingdom and The Grand Budapest Hotel exemplify the technical advances Truffaut and Godard used in their landmark

This section will explain the colour theory and colour symbolism and analysis what red stands for in different fields in a premise of the Western world. It will also define the fairy tale and nonsense literature. In this section, what previous researchers had explored about the characters and the red garments they worn will be illustrated as well. The objects’ meaning is another main focus. Therefore, the explanation of how material culture and narrative analysis helps when studying the representation of objects. Lastly, we will investigate the similar exhibitions to show how others have worked within this area.

What makes this film a great piece of french cinema is the connections it draws to other films, You can see throughout film subtle hints at older pieces of french cinema which leads you to the conclusion that Leos Carax was heavily influenced by such films. Throughout the course of the film Carax dropped some subtle hints at some classic french films. He even went as far as casting Edith

The French society – evolving during the history - became diverse and biased, especially bigger cities like Paris and Marseille. The capital, Paris is the crucible: people from different countries move there in the hope of a better life, while Marseille gives a good basic to the Arabic society, moreover they established their own cult. This essay will outline the contemporary French society and focus the misfits in it. It will be divided into two main parts: part one will be the movie of Intouchables which is one of the most successful movie in the French history based on a true story, part two will be about the short story of Filles du bord de ligne, a story about two girls trying to find their place in a new country, in a new culture and be a part of a completely different world.

Tim burton is very good at using color to establish a mood. As seen in many of his hit movies, color is a large part. Tim burton uses certain cinematic techniques such as color symbolism. For example, in “Alice in Wonderland”, you can see that Tim burton purposefully makes queen Iracebeth’s castle dark and red to show that she is angry or even dangerous while Tim Burton makes Mirana of Marmoreal’s castle white to show tranquil and goodness. Even the small things matter to Tim Burton. All colors are specially chosen because it would change the whole movie if he changed a white castle to a black castle. This technique can also be found in “Charlie and the Chocolate Factory” in the scene when they are riding on the boat down the chocolate river.

This variation and symbolism of colors are used extensively throughout the movie, and allows for a more effective and accurate method in delivering the messages and themes intended. In a way, Anderson is not just telling a story, but he is also painting a picture for the viewers to enjoy on the screen. For instance, extensive use of soft pastels and muted undertones create a dreamlike look to the hotel and objects (the cake box, funicular, Mendl’s uniform & vehicle, etc), clearly distinguished from the other parts in the film. The poetic and impeccable pastel-toned look of the hotel, mostly pink and purple, resembles of a doll’s house: peaceful, and fairytale-like. Not only that, it is comparable in appearance with the graceful pink packages of Mendl’s Patisserie. On that note, the scene that stands out in terms of a strong color contrast is when Gustav is in prison and shares the cake with the other inmates. When he cuts the cake with the “throat slitter”, the soft rosy box of Mendl’s stand out from the gloomy color schemes of the prison. Not only that, the box is placed in the very middle, thereby emphasizing the objet using the “rule of thirds”; composition aspect of mise-en-scene. Also, the director strikes the audience with vivid colors, when in need of reinforcement of the theme or highlighting an essential scene. When Agatha and Dmitri board on the elevator when holding painting, there exists a powerful contrast: between Agatha wearing beige-toned outfit with hairs impeccably braided reminiscent of an angel, Dmitri with all black long coat and messy mustache signifying the dark and the evil (also, wearing the armband similar to that of Hitler), and the elevator guy wearing a vibrant purple uniform. The costumes, which are also a significant part of décor, therefore convey the audience in

The film Le Fabuleux Destin d'Amélie Poulain, more commonly known as Amélie, was released in 2001 and became an instant success internationally. It portrays a unique style of film and is visually different but exceptional. Directed by Jean-Pierre Jeunet, Amélie contains many amazing characteristics that made it into a hit. The plot, color scheme/special effects, particular camera movements and jump-cut editing make the film enjoyable and interesting. Amélie seems to relate more to the French public but many people from other nations found it quite good. It was shown all throughout commercial theaters and became a box office success. One could say due to the film's romance aspect and female lead; the target audience ideally would be women in the age range of 18-25. These young audiences are a result of the French trend, cinéma du look, in which youth-oriented films were produced with high production values and flashy visual style. This trend was only one of many during the 1980s and forward that changed the French film industry. With such innovations, Amélie was able to capture the attention of viewers and bring them into an idiosyncratic and fantastical world.