Advertising in Contemporary Consumer Culture by Hélène de Burgh-Woodman

Author:Hélène de Burgh-Woodman
Language: eng
Format: epub
Publisher: Springer International Publishing, Cham

The scene opens with a family on a villa balcony, the city of Rome stretched out below them. The cinematography is sharp, almost fantastical, as the mid-shot is composed of a romantic balcony with perfectly formed oleander, soft blue and grey skies and the muted tones of the city with the Colosseum peeping out in the distance. The framing of the city is reminiscent of the romantic Parisian cityscapes found in Amélie (2001) for which Jeunet came under criticism as the digital depiction was viewed as unrealistic and sanitised (Kaganaski 2001) in a year that saw other films such as Vidoqc (dir. Pilof 2001) and Le Petit Poucet (dir. Dahan 2001) digitise the streets of Paris. In Vidoqc, as in Amélie, “digital camera employed rendered saturated images, high in contrast and intense in color, and allowed enormous depth of field. The images are so worked over in post-production that the film is sometimes difficult to watch, as one is overwhelmed by a multitude of rich visual elements” (Austin 2004, p. 282). Yet, both the images of Rome and Paris frame a deeper connection with time, nostalgia and a sense of a lost past as though acknowledging that the “perfect city” can only be a figment of imagination and magic. As Jeunet himself acknowledged in a 2001 interview about Amélie with IndiewireI needed an explosion of colors, something very bright and happy. It worked with the story. And that’s the reason I wanted to make a fake Paris, a very nice Paris, like in my head when I was twenty and I arrived in Paris for the first time. I wanted to avoid the bad things: traffic jams, dog shit on the street, the rain. I wanted to make a film like this: a fake Paris, a Paris of dreams. And we did a lot of work for it, even in [post-production]. We changed the sky when it was white. I hate white skies, and we changed it. I prefer clouds. When it’s blue, it’s pretty cool, like in L.A. every day. But I prefer clouds. (Meyer November 2001)

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