澳大利亚代写作业:档案资料

2017-11-23 12:56

是简单的，这样它就能符合环法自行车旅行的档案资料;然而，我相信它也与电影其余部分的明亮大胆的色彩形成了鲜明的对比。斯坦利·卡维尔(Stanley Cavell)在电影中提出，黑人和白人通常代表现实，而明亮的色彩描绘的是幻想(Cavell 1979)。在艾米莉，叙事主要集中在主人公;因此，使用不正常的颜色可以被看作是她富有想象力和顽皮的人生观的代表。这也表明，观众正在见证的现实也许完全是由艾米丽的想象所构成的。ben - shaul(2007)解释说，有些电影试图让他们的拟像看起来如此可信，以至于它是“看不见的”，所以角色和场景是观众的主要焦点。另一些人则使用一系列明显的电影技巧来复制某种类型的现实，电影制作人希望观众能体验到。正如前面提到的，艾米丽的场景似乎是艾米丽想象力的产物;这意味着这部电影有点超现实主义。鲍德里亚(Baudrillard)的《超现实》(Hyperreality)理论(1994)描述了一部电影将现实与幻想结合得如此完美，以至于很难分辨什么是真实的，什么是真实的。我认为，这是一个必要的理论，在理解Amelie时，作为电影的某些部分，可能是字面上的理解，可能是她的想象的虚构。
澳大利亚代写作业:档案资料
Jeunet also uses black and white when providing flashbacks, such as Bretodeau’s memories conjured by the treasure Amélie leaves him. This may have been done simply so that it would fit with the archive footage of the Tour de France; however I believe that it also provides a contrast with the bright bold colours in the rest of the film. Stanley Cavell proposed that in cinema, often, black and white represents reality whereas bright colour portrays fantasy (Cavell 1979). In Amélie, the narrative is focused on the main character; therefore the abnormal colours used could be seen as representative of her highly imaginative and playful outlook on life. This also suggests that the reality which the viewer is witnessing may perhaps be entirely constructed from Amélie’s imagination. Ben-Shaul (2007) explains that some films attempt to make their simulacrum so believable that it is “invisible”, so that the characters and situation are the primary focus for the viewer. Others use an obvious range of cinematic techniques to replicate a certain type of reality the filmmaker wants the audience to experience. As previously mentioned, the mise en scene of Amélie seems to be a product of Amélie’s imagination; this means that the film becomes somewhat hyper-realistic. Baudrillard’s theory of “Hyperreality” (1994) describes when a film blends both reality and fantasy together so seamlessly that it is hard to tell what is real and what is not. I think that this is an essential theory to consider when understanding Amélie, as some parts of the film which might be taken literally, may perhaps be figments of her imagination.

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