Film Studies Essay Example | Topics and Well Written Essays - 1000 words

Film Studies - Essay ExampleThe film Amelie begins with an omniscient narrator detailing the likes and dislikes of Amelies parents providing incursion into Amelies formative childhood that led to her introspective personality. Both parents eschew touching. For example, the beginner hates his swimming costume sticking to his legs and the mother hates when someone brushes her go across. Although the child-Amelie craves physical affection, her father only touches her once a month with his stethoscope during her check-up. Excited by this contact, Amelies heartbeat quickens causing her father to diagnose her with a heart condition that causes her to constrain home schooled by her neurotic mother. Amelie develops into an extraordinarily imaginative child whose only friend is a suicidal goldfish. Yet, Amelie is not simply a recluse she shows a spark for something more in her life. She craves tactile pleasure eating raspberries from her fingertips, pulling glue skin from her finger, runn ing her finger around a wineglass top, or plunging her hand into a sack of beans. She also demonstrates an powerfulness to feel her interconnectedness with society at large as well as a bit of assoil for harmless revenge. When a nasty neighbor tricks Amelie into believing that her taking photographs lead to a car accident and other citywide accidents, she innately believes in her ability to connect with others in this unseen, spiritual way. Yet, once she realizes the neighbors trick, the cheeky Amelie revenges the avid football fan by unplugging his TV at pivotal moderate moments. Quite opposite to Amelies solitary upbringing, her future love Nino suffered a fate much like Oskar from Let The Right One In as classmates rowdy both. Of course, Ninos bullying is slanted towards humor, yet Oskars world of isolation is far more detrimental, sad, and violent. Oskars divorced mother and father depend completely disconnected from their son. Oskar retreats into an imaginary world where h e is the tough bully threatening and debasing weaker boys. The film opens with the prepubescent Oskar standing shirtless holding a lessened knife commanding an unseen foe to Squeal like a pig (Lindqvist). Oskar is attempting to reverse the power relationship between himself and the bullies by inventing his own bully identity within the mirror image reflected in his apartment window. Of course, neither Oskar nor Amelies identities remain unchanged by their films conclusions. Within Amelies world, hearing the ball over report of Lady Dianas death causes Amelie to drop a bottle top that nocks loose a tile revealing a long alienated box of a childs treasures. Frances notes Princess Di, often referred to in the filmrepresented for the collective, heart values that lie in the shadow of cultures (2003). Inspired to chance on the owner and become an agent of kindness, Amelie enters a manic world where characters drives plot and plot drives characters. Riding the maze-like subway, Amelie locates the owner, who is so touched by this anonymous gift that he vows to reconnect with his daughter to meet his grandson. Just as characters incite change within each other in Amelie