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Paper on the film Ameli is dicribing this film and stories, realated with main hero.At first glance this may not be the case because of the way the movie has been produced; it isn’t just the plot that must be considered, it is everything from cinematography to lighting to direction itself. It would appear that the contemporary feel is ‘in’ and traditional is ‘out’ in this movie as the director used elements from the French new wave cinema to construct some of the scenes of the movie (Vanderschelden, p.14) for e.g. Strowzykowski writes about Jeunet’s technique, “In Amelie, Jeunet had actress Audrey Tautou break from the sealed world of the narrative to talk directly to the audience” (Strowzykowski). The disagreement with conventionalism ends here, however.It is only at a deeper look that one realizes the way Amelie’s character itself has been written, promotes a very sexist image of women. It isn’t obvious and there is a lack of large details that can help the audience see through this, instead there are subtler details that must be carefully picked up and analyzed.Amelie finds meaning and fulfillment in life only in helping others and in her love for a man whom she idealizes. In this framework of a stereotypical image of womanhood, Amelie is hegemonically granted the agency to gaze at others, to transform their lives, to escape sexualized masculine gazes, and even to choose her own prince; all because she is a non-threatening “good girl” who is just looking for love... Such spectators find pleasure in watching Amelie take action and “trespassing” the passive sexualized object role that she was supposed to play. Amelie is a fine example of contemporary French cinema. The ideals it portrays, however, are not entirely contemporary in terms of a feminist perspective. The movie presents the stories of a woman who has been constructed on patriarchal terms rather than feminist ones. The mere fact that the movie was such a colossal success proves that the actual identity and concept of females and femininity haven’t changed much over the years. While the production methods and techniques may have evolved a great deal, the representation of women is much the same, albeit in a different manner altogether.
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In Let the Right One In, Oskar and Eli’s austere whitewashed school and formulaic apartment community surrounded by snowy forests enhance their minimalist clothing and meditative, yearning Swedish. Yet, as both film protagonists, Amelie and Oskar, navigate their labyrinthine worlds, their character evolutions track similar journeys from lonely, fantasizing introvert to a person who initially connects with another person though riddles and codes later to become deeply connected with the other person.
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The film informs us about how she lost her parents, and because of these become forced into some isolation. This enabled her posses an active mind that managed to keep her of the isolation thoughts. She helps a man who works as a painter reunite back with his family.
It is not that one is superior to the other, but that films and plays provide separate and unique perspectives on the world from which they emerge.
Comparing a Shakespearean drama to a modern American or Engish film creates a language bias in the analysis.
te those beliefs and practices of the people of a cultural community since the scope of traditional cultural art is, to a great extent, restrained by the societal power factors, such as the state authority, various social organizations, and established dissident groups. Unlike
In addressing and showing the transition of feelings and thoughts of Elena towards Amelie, I used simile, imagistic language like ‘sigh’ to give a pictorial image of the happening, first person narration style and numerous questioning
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