VIDEO
(On one of the two short stories in this unit, either âThe Story of an Hour by Kate Chopin (Valencia Reader) OR âA Rose for Emily by William Faulkner (Valencia Reader).
Write a Literary Analysis paper on one of the short stories listed above and apply one of the literary schools/criticisms (title your essay with the critical school of thought you are using). Avoid using the same criticism applied here in future comment papers–different papers will use different criticisms as a focal point. (In short: you cannot use the same critical theory more than once in the Comment Papers.)
Sample Solution
Jeunet also uses close-ups to mark the end of sequences: âLooping crane shots, rapid zooms, and dizzying montage passages give way to several seconds of Tautou, absolutely still, staring directly into the camera, an object of our lingering gaze.âAs with every other aspect of the film, Tautouâs face does not escape Jeunetâs aesthetic edits, serving the superficial narrative as much as-if not more than-the fantastical Paris. As a shot, close-ups, in the terms of Eisenstein, are both individuals and collectives. In presenting Amelie through close-ups, she is presented as an icon, both an âimagined friend and an inaccessible idealâ. The combination of proximity and distance that enables the success of a media icon is an ideal employed by Jeunet. Like a media icon, Amélie provides the audience with traces of reality: opportunities for autonomy, references to past-cinema, while simultaneously isolating the world of the movie through the heavily stylised aesthetics and edited visuals. The close-up presents a dualistic paradox for the viewer. There is an intimacy in the proximity of the shot which, as severed from the âbigger pictureâ, necessitates the abstraction of information; the close-up, in its narrow perspective, refers viewers beyond the immediate. The multitude of close-ups of Tautouâs face, presents Tautou iconically, as they create a pause in the film, providing the audience with multiple instances to reflect on the image in and of itself. The power of the close-up comes from the referential value attributed to it. The close-ups of Tautou therefore give the audience an opportunity for their own autonomous imaginative response to the film by pausing the action visually and temporally. As such, the close-up is a strategy that exemplifies greater themes of the film: the spectator and the significance of the image. In presenting Tautouâs face so iconicly throughout the movie, Jeunet is provoking the relationship between film and spectatorship and subverts Hollywoodâs mindlessness through creating providing a platform in which the act of autonomous thought is curated. As an international director, trained in advertisement, and having completed a big-budget Hollywood film, Jeunet uses his understanding of the power of the image to empower his audience to acknowledge the mechanised, technically enhanced visuals presented in Amélie.>
Jeunet also uses close-ups to mark the end of sequences: âLooping crane shots, rapid zooms, and dizzying montage passages give way to several seconds of Tautou, absolutely still, staring directly into the camera, an object of our lingering gaze.âAs with every other aspect of the film, Tautouâs face does not escape Jeunetâs aesthetic edits, serving the superficial narrative as much as-if not more than-the fantastical Paris. As a shot, close-ups, in the terms of Eisenstein, are both individuals and collectives. In presenting Amelie through close-ups, she is presented as an icon, both an âimagined friend and an inaccessible idealâ. The combination of proximity and distance that enables the success of a media icon is an ideal employed by Jeunet. Like a media icon, Amélie provides the audience with traces of reality: opportunities for autonomy, references to past-cinema, while simultaneously isolating the world of the movie through the heavily stylised aesthetics and edited visuals. The close-up presents a dualistic paradox for the viewer. There is an intimacy in the proximity of the shot which, as severed from the âbigger pictureâ, necessitates the abstraction of information; the close-up, in its narrow perspective, refers viewers beyond the immediate. The multitude of close-ups of Tautouâs face, presents Tautou iconically, as they create a pause in the film, providing the audience with multiple instances to reflect on the image in and of itself. The power of the close-up comes from the referential value attributed to it. The close-ups of Tautou therefore give the audience an opportunity for their own autonomous imaginative response to the film by pausing the action visually and temporally. As such, the close-up is a strategy that exemplifies greater themes of the film: the spectator and the significance of the image. In presenting Tautouâs face so iconicly throughout the movie, Jeunet is provoking the relationship between film and spectatorship and subverts Hollywoodâs mindlessness through creating providing a platform in which the act of autonomous thought is curated. As an international director, trained in advertisement, and having completed a big-budget Hollywood film, Jeunet uses his understanding of the power of the image to empower his audience to acknowledge the mechanised, technically enhanced visuals presented in Amélie.>
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