珀斯代写论文:阿梅莉亚

2017-11-23 12:51

我的文章认为，《阿梅莉亚》(2001)的图像系统以及让·皮埃尔·杰尼特(Jean Pierre Jeunet)改编的后现代风格，是这部电影在世界范围内取得巨大成功的关键因素之一。我打算探索电影中现实主义和形式元素的层次，发展叙事和情绪，借鉴法国电影的历史发展和批判观点。为了澄清，当我说外国电影的时候，我指的是那些外国电影和西方文化中其他主要的制作公司。这部电影《Le fabuleux destin d’amelie Poulain》不仅在法国获得了很高的成功，而且在全球范围内也非常成功，国内总票房为33,225,499美元。该片还获得了五项奥斯卡提名，其中包括最佳外语片(Box Office Mojo)。这部电影有一个非常独特的“外观”，它的形象系统和形式，已经成为法国导演jean - pierre Jeunet的auteuristic风格的一部分。他曾被艾森瑞奇(2004)描述为“国家电影人，他开发了最丰富的视觉世界，结合了技术上的掌握和艺术的意义”。许多评论性文章和评论都写在了阿梅丽在主流电影行业的成功上，许多人把它归结为叙事的感觉良好，其他人则认为这是独一无二的电影和场景。
珀斯代写论文:阿梅莉亚
My essay will argue that the image system of Amélie (2001) and the post-modern style adapted by Jean Pierre Jeunet, was one of the key aspects which lead to the film’s huge success worldwide. I intend to explore how the levels of realism and formal elements within the film, develop the narrative and mood, with reference to historical developments in French film and critical viewpoints. To clarify, when I say foreign film, I am referencing the films which are foreign to Hollywood and the other predominant production companies in western culture. The film Le fabuleux destin d'Amélie Poulain was highly successful not only in France, but around the world, with a Domestic Total Gross of $33,225,499. It was also nominated for five academy awards including Best Foreign Film (Box Office Mojo). The film has a very distinct “look” derived from its image system and form, which has become part of French director Jean-Pierre Jeunet’s auteuristic style. He has been described by Eisenreich (2004) as “the national filmmaker who develops the richest visual world, combined with a technical mastery and artistic sense”. There are many critical essays and reviews written on the stem of Amélie’s success in the mainstream film industry, many putting it down to the feel-good nature of the narrative, others suggesting it was the unique cinematography and mise en scene.

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