or McLuhan, European filmmakers constitute his definition of ideal artists because, rather than interpreting the message on behalf of the audience, through their emphasis on the film as a medium, their work triggers a cognitive process within viewers, promoting critical thought through the combination of reality and imagination, thus empowering the autonomy of the viewer. In Amélie, Jeunet exploits the power of the image in our capitalist context to create opportunities for wonder, imagination and, as such, autonomy. In understanding the spectacle-as both the result and project of the existing mode of production- in the present model of socially dominant life, Jeunet exploits the value of the image through the surface of Amélie and the unreal visual aesthetic of the film. Returning from Hollywood, having finished work on Alien: Resurrection, Jeunet made a commitment to himself: that he would contribute to the national heritage of French cinema;as an homage, Amélie is a patiche, rife with references to French films. Controlling every aesthetic element, Jeunet’s shots are filled with intent. Beginning with the anamorphic format (2.35:1), Truffat’s Jules et Jim is conjured. Jeunet further references Truffat through the prologue of Amélie before showing Amélie watching a clip of Juels et Jim in a theatre. Jeunet’s shots at the Canal St Martin recall Carne’s Hôtel du Nord (1938) while the whimsy and colour red, prevalent throughout the film, are reminiscent of Lamorisse’s Le Balloon Rouge (1956). Jeunet even admittedly borrowed the title for his film from Guitry’s Destin Fabulux de Desiree Clary (1942), with the use of voiceover also recalling the same film. Montmartre as a setting is connected to Truffat’s 400 Coups (1959), and Claire Mauier-Madame Suzanne-having a role in both films, further establi>