the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the world of the movie, Amelie’s first interaction with the past occurs in the same scene as Jeunet’s temporal reference to Diana’s death, with Amelie discovering a box of treasures hidden behind a tile of her washroom floor. The camera, located behind the tile, shoots from the point of view of the past that the box is tied to, framing Amelie outside of the wall, in the realm of the present. As Oscherwitz elaborates, “Because this scene occurs so early in the film, it functions to force identification between the spectator and the past, not merely between the spectator and Amélie.” In this scene, as with the rest of the film, Jeunet quite explicitly exploits the photogenic mobility of cinema-cinema’s mobility in space and time. The juxtaposition between iconicity and indexical relation through the visuals of Amélie informs the film’s thematisation of visual representation. Jeunet, using the same tactics as advertisements, wooes the audience with his movie of a “stereotyped idea of Paris that exists in the world, rather than recording Paris as it exists”. With an extraordinary number of shots in the film-over 300 in the prologue alone-each shot must make an instant impression. The power of the edited image to make this impression is enhanced by the soundtrack. The soundtrack emphasises the beginning and end of each shot, with almost every scene, and many individual moments, concluding with audible finality.>