L/O: (A03) Can I demonstrate planning, research and presentational skills in my case study on Amelie?

• Think carefully about what they might wear. • Label your picture and compare it with those of the other groups in the class. likes and dislikes. • How realistic do you think these pictures are? • How many French actors and actresses can you name? • Are they like your pictures in any way? . important elements of their personalities.Starter Activity • In pairs. create a picture of a typical French man or woman. hobbies. how they might look.

Amélie being turned down by the Cannes Film Festival. . His films have been popular all over the world and his background in animation shows through in his imaginative approach to film-making.Introduction to Amelie • Amélie was directed and co-written by Jean-Pierre Jeunet. More generally though. • The films of Jeunet and his peers have not always met with critical approval in his home country. Amélie was hailed in France as a positive statement of what it means to be French. one of a newer breed of French directors whose films are sometimes referred to as the ‘cinema du look’.

• The portrayal of a modern metropolitan city as a clean and community minded world is a French equivalent of harking back to simpler times (the 1950s) in our own country. The heightened reality is further underscored with its inner city Paris location.Introduction to Amelie: Representation • Amélie is often described as a modern fairy tale. It takes place in an idealised version of the world. as the accordion and music wafts in over the opening titles. we know almost certainly that we are not about to witness a gritty and realistic portrayal of contemporary urban France. The film is a digitally enhanced version of a quirky and amusingly observed reality. . From the first moments. which on the whole is a fair summary.

.Representation Task • Watch the opening 1 minute 20 seconds of Amélie twice. • On the second viewing. we are going to pause the film on the first frame which shows the Rue St. think about the way colour is used. Vincent. Note down what is included in the frame and why. Make notes on the mise-en-scène. Montmartre. On the first viewing focus upon the way that Paris is represented.


watch the third frame where Eugene Colere is writing in his diary. What is shown in the background? • Finally. Think about the use of accordion music. sepia tints and panoramic shots.Representation Task • Move onto the second frame which foregrounds the table and chairs. Do you see anything that represents modern life? . What do we see in the background? • Consider what kind of Paris is being represented in these opening frames.



notice how many of the elements of modern life have been removed. When you watch the rest of the film.Background The film is supposed to be set in 1997 at the time of Princess Diana’s death. The sequence is sharp. It begins at the moment of conception and concludes with her leaving home for Paris. elegant romance which includes elements of fantasy with all negative elements such as poverty and racism magicked away. funny and imaginatively depicted. This is heightened by a strange sense of precision in the characters and events it depicts. for example. are given to the second. What is represented is a virtual reality CGI Paris which provides the setting for a light. The story revolves around the life of the title character. Key terms: CGI: computer-generated imagery . The tone for the film is set when the short opening sequence is given over to her early life. the timings. Amélie Poulain (Audrey Tautou).

• What do we learn about Amélie in this sequence? What kind of adult do we think she might grow up to be? . • How are the characters introduced to us? Think about the use of a narrator and what we are told about each person and the kinds of camera shots that are used.Plenary • We are going to watch the opening sequence of Amélie.

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