Amelie+in+Analysis


 * Eric (Cinematography)**


 * Ryan's Analysis Page (The Boney Cave-In) *UPDATED***

William.C

1. The soundtrack to this movie consists of a lot of piano/instrumental music, which gives a really old-fashioned feel to this movie. At the start of the movie, the music used is a melancholy piano piece, showing how Amelie's childhood wasn't the best, and how she was different from normal kids when she grew up. 2. After Amelie changed the placement of things in Collignon's house, there's the scene where Collignon quickly discovers all the mishaps. The music in this scene slowly gets more intense every time he finds a new mishap. Near the end of the scene, when Collignon wants rest after all his 'misfortune', he tries to take a drink. The music in this scene is effective (especially when he takes the drink) because the music fits each event that's happening perfectly - the music sounds extremely shaky, as it shows the camera/shot shaking simultaneously. 3. When Amelie puts Nino in the right situation for him to find out the mechanic's identity, there's a part where she's about to approach him, but gets stopped by a train that passes. The sound here is good because you expect for them to finally meet, but the train and its sounds are extremely abrupt, cutting off the hope that you had.
 * Lucy (sound/lighting)**


 * Karson Mo:** Editing Analysis

Kyle Pang (Cinematography): Analysis

Renée Wong: Amelie Analysis (Director)

Julie Ma (Sound/Lighting): Amelie Analysis


 * Vipula (Sound/Lighting):** Vipula's Amelie Analysis

Naomi Chan (Director): Amelie Analysis NC

Elizabeth Low (editor): Editing in Amelie

1) __Extreme close ups__: There are a lot of close-ups of Amelie's face through out the movie. This keeps the audiences informed on what she is thinking and her expressions. It makes the audiences feel as if they were right next to Amelie and understands her very well. This indirectly relates to the theme because these close ups show how she is reacting to her own fate. When Amelie heard that Nino "left with Gina," there was an close up on her face to show her disappointment and she "melts." 2) __Tracking shots (Pan shots)__: In the movie, there are a lot of shots where it is continuous and connected. This type of tracking shots with the dolly gives the audiences a sense of continuity: as if implying that "one thing leads to another." Also implying the "steam" of consequences that follows an action, just like a row of dominos that falls in a line. 3) Color/Tint: The entire movie had a yellow tint added to it. This yellow tint adds a really weird and awkward feeling. Implying that Amelie is also quite weird and quirky. I think the color also kind of plays with the idea that “fate is a little funny sometimes.” 3) Color: Instead of a yellow tint, the movie is over saturated. The over saturation creates a vibrant look to the movie. It might be implying and suggesting that life, like the movie, is also "vibrant." Even though Amelie is just an average waitress, her life is actually full of interesting characters and stories. The over saturation is applied effectively with the color scheme of green and red —the color of Christmas— which implies happiness (if we really dig deep and think about it). When the audiences see a film that is more vibrant, they tend to be in a more lighthearted mood.
 * Jocelyn Hung ** : //Cinematography//

Cecilia Siu (Director): @AMELIE analysis (cecilia)

Tadashi Beddie (Director): @Amelie Analysis TB

Dinah Lee (editor): Amelie Analysis DL

Rosa Park (sound & lighting) : Amelie sound *UPDATED*

Kristine Romano (editor): Amelie Analysis KR

Helen Shim (cinematographer): Amelie analysis

Luke Kao (Director): Analysis LK