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This is the first book on Jean-Pierre Jeunet, the popular and critically acclaimed director of films such as Amélie, Delicatessen, A Very Long Engagement, Alien Resurrection, and City of Lost Children. Jeunet's work exemplifies Europe's engagement with Hollywood, while at the same time making him a figurehead of the critically overlooked, specifically French tradition of the cinema of the fantastic. Having garnered both commercial success and critical esteem in genres such as science fiction, fantasy, romantic comedy, and the war epic, Jeunet's work nevertheless engages with key aspects of French history and contemporary French culture. This study analyzes the director's major films, including those he made with Marc Caro, and his early short works. Elizabeth Ezra brings a new perspective to the study of Jeunet's work, uncovering instances of repressed historical trauma involving France's role in Algeria and the Second World War. The book includes a commentary by Jeunet himself on his career and corpus of films.
A brilliant, boundary-leaping debut novel tracing twelve-year-old genius map maker T.S. Spivet's attempts to understand the ways of the world When twelve-year-old genius cartographer T.S. Spivet receives an unexpected phone call from the Smithsonian announcing he has won the prestigious Baird Award, life as normal-if you consider mapping family dinner table conversation normal-is interrupted and a wild cross-country adventure begins, taking T.S. from his family ranch just north of Divide, Montana, to the museum's hallowed halls. T.S. sets out alone, leaving before dawn with a plan to hop a freight train and hobo east. Once aboard, his adventures step into high gear and he meticulously maps, charts, and illustrates his exploits, documenting mythical wormholes in the Midwest, the urban phenomenon of "rims," and the pleasures of McDonald's, among other things. We come to see the world through T.S.'s eyes and in his thorough investigation of the outside world he also reveals himself. As he travels away from the ranch and his family we learn how the journey also brings him closer to home. A secret family history found within his luggage tells the story of T.S.'s ancestors and their long-ago passage west, offering profound insight into the family he left behind and his role within it. As T.S. reads he discovers the sometimes shadowy boundary between fact and fiction and realizes that, for all his analytical rigor, the world around him is a mystery. All that he has learned is tested when he arrives at the capital to claim his prize and is welcomed into science's inner circle. For all its shine, fame seems more highly valued than ideas in this new world and friends are hard to find. T.S.'s trip begins at the Copper Top Ranch and the last known place he stands is Washington, D.C., but his journey's movement is far harder to track: How do you map the delicate lessons learned about family and self? How do you depict how it feels to first venture out on your own? Is there a definitive way to communicate the ebbs and tides of heartbreak, loss, loneliness, love? These are the questions that strike at the core of this very special debut. Now a major motion picture directed by Jean-Pierre Jeunet and starring Kyle Catlett and Helena Bonham Carter.
Scientific Essay from the year 2012 in the subject Didactics for the subject French - Literature, Works, grade: First, Bournemouth University, language: English, abstract: This paper focuses on Jeunet's 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. It also looks 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. Finally, it analyses 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. These factors all work hand in hand within this short scene, Jeunet marries this mix of techniques together to create an aesthetic signature that adds to the success of his award winning film.
"Le Fabuleux destin d'Amelie Poulain" was the surprise boxoffice success of 2001, with nine million spectators in France, and more than 30 million worldwide. The film turned Audrey Tautou into an international star, in her iconic role as Amelie, a naive French Parisian who devotes herself to mending the lives of the people around her. Shot on location in Paris, the film combines poetic and magical realism with stylish cinematography, original use of colour, state-of-the-art special effects, and an evocative soundtrack; together these have produced a popular film of universal appeal. Isabelle Vanderschelden examines the film's production within the French film industry. She analyzes the issues of genre and narrative that it presents so well. She looks in depth at the film's key scenes, as well as at Jeunet's distinctive visual style and cinematography and his use of digital technology. The national and international receptions of Amelie are explored to establish why the film has caught the public imagination and whether it marks a renewal in the cultural diversity and distinctive identity of the French film industry. This book will be essential reading for cinema lovers and students alike.
In this significantly expanded new edition of his acclaimed exploration of the four Alien movies, Stephen Mulhall adds several new chapters on Steven Spielberg’s Mission: Impossible trilogy and Minority Report. The first part of the book discusses the four Alien movies. Mulhall argues that the sexual significance of the aliens themselves, and of Ripley’s resistance to them, takes us deep into the question of what it is to be human. At the heart of the book is a highly original and controversial argument that films themselves can philosophize. Mulhall then applies his interpretative model to another sequence of contemporary Hollywood movies: the Mission: Impossible series. A brand new chapter is devoted to each of the three films in the series, and to other films by the relevant directors that cast light on their individual contribution to it. In this discussion, the nature of television becomes as central a concern as the nature of cinema; and the shift in generic focus from science fiction to thriller also makes room for a detailed reading of Spielberg’s Minority Report. On Film, Second Edition is essential reading for anyone interested in philosophy, film theory and cultural studies, and in the way philosophy can enrich our understanding of cinema.
In this work, Alison Frank looks specifically at French and Czech films to offer a new take on surrealist cinema.
To a large extent, the story of French filmmaking is the story of moviemaking. From the earliest flickering images of the late nineteenth century through the silent era, Surrealist influences, the Nazi Occupation, the glories of the New Wave, the rebirth of the industry in the 1990s with the exception culturelle, and the present, Rémi Lanzoni examines a considerable number of the world's most beloved films. Building upon his 2004 best-selling edition, the second edition of French Cinema maintains the chronological analysis, factual reliability, ease of use, and accessible prose, while at once concentrating more on the current generation of female directors, mainstream productions such as The Artist and The Intouchables, and the emergence of minority filmmakers (Beur cinema).
What Cinema Is! offers an engaging answer to Andre Bazin's famous question, exploring his 'idea of cinema' with a sweeping look back at the near century of Cinema's phenomenal ascendancy. Written by one of the foremost film scholars of our time Establishes cinema's distinction from the current enthusiasm over audio-visual entertainment, without relegating cinema to a single, older mode Examines cinema's institutions and its social force through the qualities of key films Traces the history of an idea that has made cinema supremely alive to (and in) our times
A visual book for the visual artist, 3D Filmmaking: Techniques and Best Practices for Stereoscopic Filmmakers provides a comprehensive overview of the theory, language, and methods behind stereoscopic 3D filmmaking, all in one package. Celebrated 3D filmmaker Celine Tricart explores every facet of the art, from the technical to the practical, including: 3D vision History of 3D cinema Stereoscopic basics and techniques How to shoot in 3D 3D VFXs, animation in 3D, and 2D to 3D conversion Live broadcast in 3D 3D viewing and projection 3D as a storytelling tool Screenwriting for 3D Working with a stereographer 3D storyboarding and previz 3D postproduction Sound design in-depth A must-read for any 3D filmmaker, producer, writer, or technician interested in the third dimension, 3D Filmmaking covers the history of the form, defines key 3D terms and places them into context, and offers lessons on using the medium as a visual storytelling tool, creating a perfect blend of concepts, practice, and history. Full color throughout, the book also includes a pair of 3D glasses for you to view the 3D images within, and each chapter features detailed color diagrams and examples in anaglyph 3D, as well as interviews with 3D visionaries like Jean Pierre Jeunet (Director, Amélie, Alien 4), Chris Sanders (Director, How to Train Your Dragon, The Croods), Demetri Portelli (Stereographer, Hugo), Phil McNally (Stereoscopic Supervisor, How to Train Your Dragon, Madagascar 4), Tim Webber (VFX supervisor, Gravity), Scott Farrar (VFX supervisor, the Transformers franchise), and Victoria Alonso (Stereoscopic Supervisor, Marvel Studios). A companion website (www.routledge.com/cw/tricart) features links to useful resources and footage from 3D films.
Based on extensive reviews and research, this book looks at the work of six of the most important cinematographers of recent years from around the world. For each there is a detailed discussion of their most significant films, ranging in style from lavish Hollywood blockbusters to innovative independents.