In 2015, the film got a Broadway adaptation starring Phillipa Soo as the title character. She must find the courage to fix her own life as she's been fixing those of others. During her adventures, she meets an odd young man named Nino Quincampoix, who we quickly realize is her soulmate - but she is too shy to make direct contact. The plot follows Amélie Poulain, a lonely young Parisian waitress with simple pleasures, as she decides to become a sort of guardian angel to those around her: reuniting a stranger with a box of his childhood treasures, gently prompting her retired father to follow his dreams of world travel, matchmaking café regulars, playing practical jokes on a greengrocer who's being cruel to his assistant, writing love letters to a woman whose husband left her, etc. These factors all work hand in hand within this short scene, and I am going to argue that Jeunet marries this mix of techniques together to create an aesthetic signature that adds to the success of his award winning film.Amélie (original French title: Le Fabuleux Destin d'Amélie Poulain in English, The Fabulous Destiny of Amélie Poulain) is a 2001 French Romantic Comedy film directed by Jean-Pierre Jeunet, starring Audrey Tautou and Mathieu Kassovitz.
Finally, I will analyse the postmodern techniques Jeunet employs, arguing that by utilising these techniques within the scene he has a stronger hold on his directorial control, creating an engaging film that not only draws the audience further into the action, but aids his own postmodern ideal of grasping onto the small pleasure in life. I will also look into the wider issue of Jeunet's representation of Paris itself, arguing that although he has created an unrealistic image of the city with little notion of the 'real' Paris that these aspects contribute to the success of the film. I am mainly going to be focusing on his use of post production techniques to create a distinctive atmosphere or 'mise-en-scene' to the narrative, arguing that these processes create another layer of meaning to the action on screen. I am using this short, simple, scene to illustrate the multi faceted aspects Jeunet employs to construct his own meaning on what on first glance may be deemed as a simple ride through town. She has managed to escape out of her insulated world, forming a relationship with Nino Quincampoix (Mathieu Kassovitz) and in this scene the two characters enjoy a moped ride around Montmartre. I am going to carry out an in depth analysis of the very last scene of this film, up to this point Amelie has been on a great character arc, learning to look after her own interests and not just those of others. The narrative follows Amelie Poulain (Audrey Tautou), a young woman so introverted that she exists in her own self-contained realm, denied basic human contact as a child, as an adult, Amelie so fears person-to-person intimacy that she spends all her energy helping to connect others with new loves, hidden passions and forgotten treasures. Le fabuleux destin d’Amélie Poulain (2001) Directed and written (story and scenario) by Jean-Pierre Jeunet and co-written (story, scenario and screenplay) by Guillaume Laurantis with cinematography by Bruno Delbonnel, is set in the short period following Princess Diana's fatal car crash in August 1997.
Your answer MUST demonstrate evidence of reading and independent research. You MUST present an argument relating to how meanings are constructed through (a) micro and macro textual features and (b) extra-textual contexts.
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Present a textual analysis of ONE scene from ONE film or TV programme of your choice.
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