Announcement

**Sebastian Jurado** · 11-08-2024, 01:58 PM

Sebastian Jurado

#1:
This frame has an insert shot size with a dirty single shot framing and an overhead shot angle. The director made these specific types of cinematic choices in order to make sure the audience focuses on the name that is being pointed at in particular as it is crucial to the story and the character’s actions. The director most likely intended for the audience to see how exactly this name was spelled as well as allow the audience to see through the perspective of Amelie. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a medium f-number which creates a moderate focus. These camera setting choices were made in order to make sure that the audience could see the name clearly and acknowledge it as an important aspect of the story. Regarding the lighting, the director most likely chose to use this type of bright lighting in order ensure that this text was visible and clear to see without any dark shadows obstructing the text. As for the print of the text on the paper, you can see that this paper that Amelie is looking at is not a new or perhaps an overused source of information due to the wear or fainting of the text. The director likely chose this specific type of text and paper in order to contribute to the portrayal of Amelie’s character. This choice shows how peculiar and unusual Amelie is, specifically because of how she is willing to look where no one else does and do anything, no matter how weird it might seem, to complete what she has set her mind to do.

#2:
This frame has a master shot size with a crowd shot framing and overhead shot angle. The director made these specific types of cinematic choices in order to estalish the scene as a public area and particularily wanted to show Amelie’s place among everyone else in the space. The director most likely intended to show the audience how big this area was as well as how busy and populated with people it was. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a wide lens and a lower f-number which creates a shallow focus. These camera setting choices were made in order to really capture the whole area while at the same time not fixating on one particular area or character. Regarding the mise en scene elements such as the costumes of this scene, you can notice that there are various people wearing either suits or mainly semi-formal attire. As for the lighting, there is soft bright sun lighting. The director most likely made these choices in order to convey the fact that this scene is during rush hour, particularly in the morning, considering as how the lighting is bright yet soft and the fact that most people are dressed as if they are going to work.

#3:
This frame has a close-up shot size with a two shot framing and eye level shot angle. The director made these specific types of cinematic choices in order to show Amelie’s reaction and help the audience see her inner thoughts and feelings about the situation. The director most likely intended for the audience to focus on how Amelie feels about what the man is saying to her. Regarding the shot direction, the focus is horizonal. The focal length of the frame is most likely a telephoto lens and a lower f-number which creates a shallow focus. These camera setting choices were made in order to sharpen and focus on Amelie’s face and have the audience ignore/drown out the guy behind her. Regarding the lighting, the light seems to be brighter on the mans face and darker on Amelie’s face. This choice was most likely made in order to portray the mental state of both characters, with the man having a clear and sharp mind and Amelie being uncertain and confused.

#4:
This frame has a medium shot size with a single shot framing and low shot angle. The director made these specific types of cinematic choices in order to show the audience Amelie’s perspective as she enters this restroom and all the items inside while at the same time showing her facial expressions through the mirror. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a secondary prop lens, specifically the mirror, and a lower f-number which creates a shallow focus. These camera setting choices were made in order to remove focus on the back of Amelies’s head and instead focus on Amelie’s facial expressions. Regarding the lighting, there are soft lights with bright focus on Amelie’s face to allow for the audience to see her clearly. As for the set and all the items there, you can see the personality of the person’s restroom that Amelie is in and it also sets up the important context for the plot later on in the story. The director most likely made these choices in order give the audience more context and help them understand these characters better.

#5:
This frame has a wide shot size with a dirty single shot framing and high shot angle. The director made these specific types of cinematic choices in order to make the audience feel as if they were also looking through this telescope, particularly in the perspective of the character Nino. The director most likely intended for the audience to feel as if they were looking through the character Nino’s eyes and wanted the audience to almost follow him as he goes on this scavenger hunt that Amelie set up for him. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a wide angle lens with a secondary telescope prop lens and a lower f-number which creates a shallow, blurry focus. These camera setting choices were made in order to imitate the way a telescope would work or specifically the type of vision someone would have when looking through a telescope. Regarding the costume of Amelie, she is wearing very modest and anonymous-type clothing. The director most likely made these choices in order to contribute to the secret and anonymous persona that Amelie is attempting to portray at this point in the story.

#6:
This frame has a medium shot size with a two shot framing and low shot angle. The director made these specific types of cinematic choices in order to focus on the dialogue between these two characters, as well as the father-daughter relationship between them. The director most likely intended for the audience to better understand how close Amelie is to her father, as she is seen still maintaing a close relationship with by talking to him and having dinner with him. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a medium f-number which creates a soft focus. These camera setting choices were made in order to clearly show the audience these two characters as they interact but also to add a sense of softness or comfort to the scene. Regarding the costumes, you can see these characters are both dressed very casually and comfortably, which contributes to the location of the scene particularly being at the character’s home. As for the lighting, there is mainly a soft, warm glow being created. The director most likely made these choices in order contribute to the idea and perception of this area/place that these characters are in as a home, specifically their home.

#7:
This frame has a close up shot size with a two shot framing and eye level shot angle. The director made these specific types of cinematic choices in order to shwo the audeince Amelie’s inner thoughts and dialogue. The director most likely intended for the audience to feel as if they are in Amelie’s mind as they can see her subtle facial expressions. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a lower f-number which creates a shallow rack focus. These camera setting choices were made in order to shift the focus on the character talking to her and instead move to Amelie and her inner thoughts and mind. Regarding the lighting, it is visible that the lighting is warm and soft which is similar to the lighting of when Amelie is with her father at home. The director most likely made these choices in order cue to the audience that Amelie is now arriving at her home in this scene.

**Venerable_Wolf** · 11-08-2024, 04:47 PM

Nicholas Wolf:

Picture reference:

Nicholas Wolf

Amelie - WWP

ACT I

1.

Shot size, angle, and framing: The shot is done at a medium-full shot with a triple shot as the girl and the two men are visible, which lends to the idea that despite being surrounded by all these people, she’s utterly alone. The angle of the shot is high, which makes the girl look even more vulnerable and smaller in the shot.

Shot composition, direction, motion: The composition of the scene does not make the girl in the art appear to be the scene's focus. The fact that her face is obfuscated by the glass of water makes her a more noteworthy character than the two men whose faces are not covered up. Since the girl’s face is covered up the audience also cannot tell what expression of emotions the girl is trying to display allowing the Audience to understand Raymond’s strife over failing to capture the girl's emotions and expressions.

Lenses and other camera settings: The lens is likely at 50mm as the camera flattens the image and also helps to focus on the girl and not the rest of Raymond’s painting as the conversation he and Amelie are having is about a specific girl in the painting and nothing else. The f-stop is likely at a 5 as there's no reason to lower it from the previous scene, and since it was a quick cutaway, I doubt the director would have the cameraman adjust the camera’s f-stop just for that. The scene is shot in close proximity to the canvas making any aperture the camera was set at still come across as clear.

mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting of the scene helps to paint the scene as being whimsical even though the man has such brittle bones that he needs to have his groceries delivered to him along with not being able to go outside. While has led him to be forced to stay inside to fill the void of boredom that comes with being a recluse. The art in Raymond’s apartment is extremely well done with the scene coming across as a lived-in apartment that an artist lives in.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The close-up shot doesn’t show those camera shapes but the abundance of squares in the apartment are contrasted by the organic shapes of humans and nature present in the artwork making a strong contrast in the process.

ACT II

2.

Shot size, angle, framing: The Shot is a close-up shot done at a low angle to make the street actor look large and in charge of the shot where he is directing Nino to where he needs to go next in his journey to woo Amelie. The framing being a point-of-view shot further helps illustrate this point by making it clear his pose is directing Nino and not just a part of his act and to show this from Nino’s perspective.

Shot composition, direction, and motion: The composition of the scene frames the performer’s eyes in the rule of thirds putting attention to them in the top middle spot and also allowing his hand to be in the left-handed corner and prominent as both were needed to illustrate what he is trying to tell Nino with expressions and body language alone. The camera doesn’t move as Nino is concentrating and trying to learn why the arrows pointed him to the Street performer. However, the street performer moves and fidgets in the scene to both try to break character and point Nino in the right direction all the same.

Lenses and other camera settings: The scene is likely shot with a 45mm lens as to be this zoomed in while shooting from the ground would give little in the way of being able to shoot with a high focal length without zooming too much on the actor. The focal length is likely at an f-stop of 5 to include the actor and focus on them and all of their facial expressions in the scene.

mise en scène (set, lighting, costume, makeup, sound, etc.): The costume of the actor makes him look like the Statue of Liberty pointing to the promised land, or in this case pointing him to his next destination as a sort of guide. The lighting also helps provide enhanced shininess that sells the metallic paint on the actor's body even if it isn’t metallic in nature. The dinging of a bell to signal to the audience that this man is assisting Amelie in her scheme also adds focus to his character.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The tight shot does not take advantage of frame shapes with such a tight shot as the shot focuses more on the actor and his expressions and body language rather than using compositional techniques which would complicate an already packed scene.

3.

Shot size, angle, framing: The shot is done with a wide shot at a high angle to make Amelie look like someone trying to play hard to get. The fact that this was done with a Point of View framing also allows the viewer to more easily distinguish what is happening in the frame and see through Nino’s perspective as Amelie gives him the slip rather than have a direct confrontation between the two.

Shot composition, direction, motion: The composition of the scene puts Amelie in the top left-hand corner of the scene not making her centered but still enough to the center to be noticeable by both the Audience and Nino. This is further helped by Amelie being overly gestural as she shows the album and holds it up before slowly lowering it carefully into Nino’s bag for him to take back with him without Nino needing to speak directly with her. This is contrasted by the fact that the camera does not move at all in the scene creating a sense of powerlessness as Nino is forced to watch as the girl he has been trying to meet up with slips through his fingers.

Lenses and other camera settings: The scene is shot with an 80mm lens for a long shot seeing as the director may have decided to add a filter over the lens in post to imply that we are looking through the binoculars rather than actually using the binoculars that they had on location for better reliability. The f-stop looks to be at about only 7 as the stone railing seems to be more in focus the Amelie is in the shot which was done intentionally to draw attention from Amelie as she covertly gave Nino back his album rather than hand it back to him. This was likely done by her to make him interested in her while she played hard to get.

mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting is also not focused on Amelie implying she would rather work in the shadows than be upfront about her feelings. Her outfit also seems to have been made from whatever she owned at the time to conceal her appearance and could have been done on the spur of the moment when she chickened out and did not want to meet him face to face.

Other relevant information, (e.g., shapes within frame, frame within a frame, relevant movement): The circle mask put over the camera creates a circular lens that focuses the scene and allows for a more focused shot than normal to add emphasis.

4.

Shot size, angle, framing: The Shot is done with a medium shot at a low angle to focus both on Amelie and her shenanigans and allow the audience to get a sense of what she is trying to accomplish with her project. The framing being a single clean shot also helps the audience keep its focus on Amelie and her art project.

Shot composition, direction, motion: The composition of the scene puts full attention on Amelie using the rule of thirds and allows the audience to go through a montage of her creating a falsified letter. The scene is made comedic through the fact that everytime Amelie switches to a new tool the camera inches ever closer to her with a mechanical *wrrrrr* ing noise allowing the audience to see just how mechanical and proficient Amelie is when it comes to forging stuff that it becomes an art form at that point. Amelie’s motions also become mechanical and move in a fast motion as the film is sped up to show the audience both how gifted Amelie is in art projects, but also how dedicated she is in ensuring that she spreads joy in any way she can, regardless of how moral it is.

Lenses and other camera settings: The scene was done with a 50mm lens to allow for a shot that included both Amelie and her setting with the F-stop being at a 6 to allow for both Amelie and the room to be pretty clear to the audience. This was done by the director to ensure that Amelie’s art project to help her neighbor seemed very DIY and not something that would have been done in a professional setting.

mise en scène (set, lighting, costume, makeup, sound, etc.): The red lighting combined with the red furniture helps create a scene of passion as Amelie is creating a forged fake love letter from her neighbor's husband that she attempts to fill with as much love as possible to give her neighbor closure on the matter.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): Amelie’s arms create a rectangle-like frame around her which makes her movements look even more mechanical and more robotic as she assembles the forged letter for her neighbor.

5.

Shot size, angle, framing: The Shot is done with a medium shot at a high angle so that the audience can fully see and understand that this man is going through it, not knowing that he will not be able to even enjoy a drink. The framing of the scene being a singular clean shot also emphasizes the loneliness and paranoia that pervades this man's life as he has to constantly face an unknown assailant who is dedicated to making sure he has a terrible life.

Shot composition, direction, motion: The shot is perfectly centered on Collignon and his eternal suffering due to his rampant bullying of Lucien and the delight that Amelie takes in ensuring that he becomes very paranoid. The camera moves in to be put personally into the splash zone as Collignon takes a swig of his whiskey to find it has added salt or sugar making him do a spit take on the camera in disgust. This also allows the audience to see Amelie’s prank in full frame and see Collignon suffer all the same. Collignon throughout the scene is seen visibly shaking and trembling as he pours himself whiskey to take the nerves off for that to immediately backfire.

Lenses and other camera settings: The scene maintains a 40mm lens with slightly warps the scene as Collignon slowly loses his mind to Amelie’s antecs and pranks. The f-stop is set at a 5 to ensure that the audience can fully focus on Collignon and his expressions as he devolves into madness.

mise en scène (set, lighting, costume, makeup, sound, etc.): The yellow dim lighting showcases both the anxiety that is associated with the color, while the dim lighting shows Collignon’s diminishing mental state and sanity.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The mainly square-like shapes in the scene help create the feeling of Collignon being boxed in and unable to escape Amelie’s terror.

ACT III

6.

Shot size, angle, framing: The Shot is a close-up shot done at a low angle, which then transitions to a high angle as Amelie melts from the embarrassment and shame bringing her down as she realizes that while it is all well and good to make plans, when you make them too obscure and try to be hard to get, eventually, they are going to get fed up with it and leave when no one is there to meet them. This is further helped by the fact that it is a single clean shot that allows the audience to be front and center to Amelie’s blunder.

Shot composition, direction, motion: The composition of the scene allows the audience to see Amelie’s shame in full force as she withers on the screen to a puddle with the camera following her melt onto the floor. This allows the audience to show that Amelie’s plans for once did not go to plan and even backfired in some areas, however, this makes the plans that do go well to be all the better in retrospect.

Lenses and other camera settings: The scene was done with a 60 mm lens to put focus on Amelie which is further enhanced through the f-stop being at a 5 to only show Amelie’s embarrassing form while blurring out the background.

mise en scène (set, lighting, costume, makeup, sound, etc.): The special effects while looking cheesy in retrospect do look good when conveying the level of embarrassment that Amelie is experiencing at the moment and how she likely just wants to disappear.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): While the square shapes do not box Amelie in they do convey that she is being too rigid and wishy-washy on trying to woo Nino, which has caused him to lose interest in finding out who she is, and Amelie turning into water in defeat and shame.

7.

Shot size, angle, framing: This shot is done with a medium shot at a low angle to show and illustrate that the two of them are high on life and could not be any happier with their current situation. The two-shot framing easily illustrates this as Amelie and Nino seem to be in the moment and love being with each other in that moment to be the best time of their life.

Shot composition, direction, motion: The composition, direction, and motion of the scene come as Amelie and Nino race down the Paris streets with the camera jolting to and fro with the liveliness of young love with the shot being front and center as a tracking shot follows them throughout the scene. The actors in the sped-up shot are pointing and enjoying each other's presence with lively motion. This culminates in the scene coming across as a noted send-off from this whimsical adventure of Amelie and her new boyfriend in town.

Lenses and other camera settings: The scene is shot from a 50mm lens with a f-stop of 5 not being able to mask the motion blur that comes from shooting a sped-up scene along with the rapid movements of the actors. All this combines to make an accurate portrayal of young love and the twists and turns that come with that. The focal length also seems pretty normal for how fast the scene is going and helps to not disorientate the audience in the epilogue.

mise en scène (set, lighting, costume, makeup, sound, etc.): The yellowed color conveys and enhances the overjoyed emotions of both Amelie and Nino as they enjoy the company of one another as they ride through the streets of Paris. With the bright sky paints a pretty picture of their bright future together.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): While there are not any binding shapes the more organic shapes of the clouds and the actor's faces helps convey a sense of freedom as both of them seem to have met their soulmate and seem to both be deeply happy with this relationship, bringing a happy ending to a story that started off not so very happy.

**B.Rocha** · 11-09-2024, 06:18 PM

B. Rocha
=====

1. This is a Medium shot size, crowd shot framing, high angle shot angle with a focal length around 60-100mm as the sizing of the crowd is slightly flattening, giving them an equalized height. The depth of field is in shallow focus as the background characters do begin to go out of focus. The screen direction relies on the Z axis for this shot as we are meant to feel the capacity of the theatre being full and be overwhelmed by the sea of people. The screen composition relies on color and motion as the blue filter on everyone gives a sublimina colorl signal of calm and quiet. Since there is no other lighting that is made to single out one character or disrupt the crowd, it reads as the entire audience being attentive and cohesive in behavior as they enjoy the movie. There is also motion in this shot that amplifies the sense of quiet as the camera translates across the crowd and the same mannerisms are observed. There shot is mostly motivated lighting that makes sense for this scene, with no stark unmotivated lighting present. The mise en scene for this scene uses costume on the crowd to frame around the era of early 2000s dress. The chosen costume also is not overly formal and displays an array of average dressed people in this era. The variety given in each person has also allowed for a little bit of personality. There mise en scene also includes movie theatre seats and lighting from the projector and bounced light from the screen. This shot was chosen by the director to allow a glimpse of the peoples within the world of Amelie, the types of behavior they are prone to, and further shows how in other shots our focus is meant to be on Amelie given how she is often contrasted in brighter clothing, lighting, and position in the shot to be the focus of our attention.

=====

2. This is an extreme close up aka insert shot, with a dirty single framing, at hip level angle with a focal length around 40-80mm. The depth of field is in rack focus as the focus shifts from Amelie entering the subway area and the blind mans music player. The screen direction relies on the Z axis for this shot as we are meant to watch Amelies entrance as she is lured in the direction of the music until finding the source. The screen composition relies on direction and color as the z axis plays a large role in this shot but the color and bright red of the circle is also on the posters along the way. It serves as a visual map of lily pads almost as we follow Amelie into the subway, and the red circles provide a guide map the audience can read as going from the end of the subway to the lap of the old man. The rule of thirds is applied in this shot too as Amelie is framed along the far left vertical line. The mise en scene for this scene includes a motivated lighting involving several overhead subway lights, tiled flooring, wall advertisements, trash bins, benches, a portable record player, a walking stick, and two characters in the shot. This shot was chosen to be an added reflection to Amelie, her curiosity and sense of adventure towards the world around her. She is guided to this spot by following the sound of music until finding the blind man. Her kindness in later shots, where she provides him money, further reflects her sense of generosity.

=====

3. This is a Medium shot size, crowd shot framing, high angle shot with a soft dutch tilt added and with a focal length of 50-85mm. The depth of field is in deep focus as there is no blurring added to the shot. The screen direction utilizes the x axis as we are meant to read the shot from R to L. This is because of the false realization Amelie gave Joseph that Georgette has been vying for his attention the entire time. Despite usually always being there to keep an eye on someone else, Amelie has 'flipped the script' on Josephs attention and has made it seem like Georgette has been keeping tabs on him the entire time, which is why the standard screen direction of L to R has been flipped for this shot. The screen composition utlilzes color by placing an emphasis on green and yellows, with green representing envy. Joseph wearing all green and surrounded by green further adds to his shock as he now thinks he is the source of Georgettes affections. Green could also represent repulsed as he proceses his shock his and visually being 'green in the gills' at the thought of Georgette. We also are able to see her through use of a prop lens, as Georgette looks at him from the counter. This shot does use the rule of thirds, with Josephs position aligning on the far R side of the screen and his eyeline on the top horizontal line. There is no unmotivated lighting here in this shot, as the motivated lighting comes largely from the sunshine from the windows. The mise en scene for this scene involves plants, tables, chairs, and booths, mirrors, plates, cups, countertops, and a radiator. This shot was chosen to reflect the result of Amelie flipping the script on Joseph, who previously was accustomed to stalking Gina, but is now getting a taste for what that feels like as Amelie tells him Georgette is doing the same thing to him, to which he is shocked and confused.

=====

4. This is a Medium shot size, crowd shot framing, high angle shot with a focal length around 50-100mm. The screen direction makes use of the Y and X axis as the grocer Collignon and Lucien are positioned higher than that of Amelie. This shot also follows the standard left to right reading of the screen on the x axis, causing our eye to stop on Amelie as the final individual. There is also use of the rule of thirds as Amelie is positioned on the far-right side of the screen, with her eye line aligning with the topmost horizontal line of the rule of thirds grid. The screen composition relies on color and direction for this shot, as Collignon previously was mean to Lucien and Amelie, being witness, is dressed in a vibrant red cardigan that symbolizes rage and her eventual call to action to get back at Collignon by messing with his apartment later. The shot and characters, apart from Amelie, are in muted colors that allow Amelie to stand out brightest in red. There is no unmotivated lighting seen in this shot, and it is all motivated outdoor lighting. The mise en scene for this scene involved costumes, bicycles, streets, fruits and vegetables, baskets, and sidewalks. This shot was chosen to make a connection between Lucien and Amelie as the shot begins with Lucien on the left, the victim of Collignon's abuses, and ends on Amelie, who is now called to stand up for Lucien and get back at Collignon in some way as part of her anger towards him. It also helps to emphasize Amelie as the main character, as she is usually always the brightest dressed character when interacting with other characters in this world. This shot also stands as a visual representation of Amelies internal decision from this point forward to act on her impulse of revenge for a cause and assert dominance in this shot, even if she is in a state of inaction.

=====

5. This is a Medium full shot size, clean single framing, high angle shot with a focal length around 50-85mm. The depth of field is in deep focus as there is no blurring in the shot. The screen direction uses the Y axis as a means to heighten the angle of the camera looking down on Amelie. There is also use of the rule of thirds as Amelie is framed on the far L side of the vertical and horizontal framing. As we see her go through her tasks of mischief, the audience is meant to be overseeing her actions whilst not directly being a part of it. The screen composition relies on color and direction, both with that Y axis movement of looking down from a high angle but also the use of red seen on Amelie in her outfit. Red is used as a symbolic color as she goes through her actions of setting up Collignon’s house because she is doing these as acts of passion and revenge. The use of her red latex gloves also furthers this symbolism as she sets up the house in various traps. There is no unmotivated lighting used in this shot and the lighting is motivated, coming from the sun through the windows. The mise en scene for this scene involves Amelies costume, a phone, side table, wallpaper, painting, vases, papers, books, electronics, and photos. This shot was chosen to disconnect the audience from Amelies' actions by providing a high angle shot of her going through the house and setting traps for Collignon. We are meant to have a neutral judgement of her actions as we are not placed at a lower angle associating ourselves with what she is doing. This also helps push the narrative that Amelie, in large part, is not doing this solely for herself but mostly for the revenge of others who had to experience the harshness of Collignon in similar ways, like Lucien.

=====

6. This is a medium close-up size, clean single framing, low angle shot with a focal length of 40-75mm. The depth of field is in deep focus as there is no blurring in the shot. The screen direction utilizes the Y and X axis to prepare the audience for a left to right reading of the shot, allowing the audience to prepare to share in what he is seeing. There is also use of the rule of thirds applied to help push to notion that we are going to move from screen left to screen right as he is positioned on the far-left side of the screen and his eye line is aligned with the topmost horizontal line for the rule of thirds. The screen composition uses direction in this scene, both to push the left to right sequence but also as we look up at Amelie’s dad. Her goal for her father was to have him travel more in his life, so as we reach the end of the film where her father has traveled due to the gnome photos, the camera is placed at this low angle to mimic the childhood height of Amelie who would likely feel proud of her dad finally stepping out into the world. There is no unmotivated lighting in this shot, and the lighting is all motivated coming from the sun. The mise en scene for this scene involved an iron gate, a view of the sky, and the costume choices made for Raphael. He is seen in a sun hat, loose fitting shirt, and glasses – a workable choice of clothing for traveling. This shot was chosen to prepare the viewers for the eventual image of the gnome that Raphael sees in his path. We are meant to feel a sense of closure at seeing Raphael finally travel into the world and live his life, and by mimicking the height of a child looking up at a parent, feel proud that they were brave enough to finally step out and fulfill their dreams.

=====

7. This is a Master shot size, crowd shot framing, overhead angle shot with a focal length of around 60-120mm. The depth of field is in deep focus as there is no blurring. The screen direction utilizes the Y axis by making this a near 90-degree direct overhead shot of the nuns playing a game. Similar to the director's choice of using high angle shots to remove the audience from direct connection to the story and characters, by increasing the distance in some shots like this overhead, it helps the audience to view the image with a neutral judgement and omniscient eye. The screen composition also makes use of size by making the nuns seem small and far away, framed by the architecture of the convent. There is no unmotivated lighting in this shot, and the primary lighting is motivated, coming from the sun. The mise en scene for this scene includes cobblestone streets, architecture, fences, cement pillars, and nuns in dress. This shot was chosen as a ‘closing the book shot’ for the ending of the film. This shot of the nuns is important because it serves as a nod back to Amelie, who went dressed as a nun to the adult shop to see Nino at his workplace because she was urged to finally meet someone and settle down at her age or otherwise join a convent. This visually closes the book to the story of Amelie, as she does in fact meet someone and enters a relationship we can assume lasts forever, saving her from having to join the nuns.

**Nathan Garcia** · 11-10-2024, 04:21 PM

Nathan Garcia

Shot 1

Size: Medium - They wanted to show the dynamic between Amelie and her father, showing that she is wanting to connect more with her father, but he is being distant.

Angle: Low - Although it is low, Amile doesn’t necessarily feel empowered or that she feels in control. Though she is not exactly at a point where she does not have any power. She is instead in a slightly venerable position, though there are no real dangers in the area.

Framing: Double Shot - The focus is on the connection, or rather lack thereof, between the daughter and the father. Showing that the daughter is really not liking she cannot have any closeness with her father, while the dad is not seeing her as his daughter, but a patient.

Comp/Mise en Scene: The scene, and the entire movie throughout, has a yellow tint to it, in this particular scene much of the interior is dark with a dominating light coming from off-screen, this scene has a audible heartbeat, with the girl wearing white tank top and short pants, while the dad is more professional wearing a suit, this shows Amelie’s closeness to wanting a childhood, but is being denied it, while the dad is staying professional to the point that he does so even in front of his own daughter

Camera: The lens is like a slightly longer 80mm lens with a very slight DoF, with the camera pulling out during this shot. This is showing a growing disconnect and distance between the father and the daughter.

Shot 2

Size/Angle/Frame: This shot is a medium-close, low angle, clean single shot. This was done to show that Amelie is currently in power, and is, at this very particular moment, about to act on her thought process

Comp/Mise en Scene: This shot once again has a yellow tint, though there is some green creeping in, Amelie herself is wearing a brown coat. Outside of the house, leaves, and Amelie herself, the rest of the set is nearly pitch black, and during this shot, an audible screeching noise can be heard. This was done because he wants us to show that Amelie is at least thinking of doing actions that would be antagonizing, with green showing as a lesser, but still antagonizing, option.

Camera: This is a 90mm lens, with a deep DoF, the camera is moving most of the time, where there are boom movements, as well as trucking. This was created to make this most unstable and bring some tension to the audience, giving a glimpse into what was going on inside her mind.

Shot 3

Size/Angle/Frame: This shot is a Medium-Full, eyelevel, dirty single shot. As the old man is trying to correct Amelie for misspeaking his name.This shows that while Amelie is slightly uncomfortable, the old man isn’t trying to be imposing, but rather correcting the mistake Amelie has created.

Comp/Mise en Scene: This is a colorful scene, with hints of yellow but mostly green (or blue?) There are sounds of Bretodeau’s feet sweeping across the floor as he walks, and both characters are wearing dark clothing in stark contrast to the more colorful set that is present here. This all shows that while he and Amelie are rather dull and stuck in their ways, what surrounds them is truly art and brings life into a world where both of these characters are usually stuck in their own ways.

Camera: The Camera is 50mm, with a noticeable yet light DoF, the camera is tracking Amelie during most of this shot, before settling then pushing in as the old man walks towards Amelie. This was allowing the audience to follow and learn about Bre’s home as she was getting to learn it, and when Bre started to walk towards her, it allowed us to feel part of the conversation as we were being pushed closer to the 2 as well,

Shot 4

Size/Angle/Frame: This is a full, low, clean single shot, as the boy is going to open the door, this shows he is set on his goal of delivering the drinks, and is in control of the situation at hand as he does it alone.

Comp/Mise en Scene: The set is filled with yellow and green colors, though these are vibrant and inviting, as opposed to the more dull and less inviting colors throughout the rest of the film.

Camera: The camera is a shorter 30mm lens, with it being still during this entire shot, there is no DoF happening, this is showing that he is not sticking out and if you saw them, you wouldn’t pay any mind to them as you were going about your day.

Shot 5

Size/Angle/Frame: This is a medium, high, and although there is a crowd, they are nearly invisible and not part of the shot in a way that would make sense to call it a crowd, so I will call it a dirty single shot, this was done to show that he is in a undesirable position, getting his book back, though on edge and Amelie is essentially toying with him. And he is worried about who is calling him.

Comp/Mise en Scene: There is a present amount of yellow and dark green in the scene, the yellow looks almost fake with how dull and similar all the yellow is, and the dark green barely acting as a more welcoming color, the sound is quite the opposite, where there is playful carnival music playing, though the ringing of the phone adds to the tension and mystery in this scene. This shows that while he is in distress, the rest of the world is not paying any attention to the man.

Camera: The lens is a standard 50mm lens, with a DoF that is not as noticeable as the many other shots in this movie, however, the camera is moving, mainly tracking the man in this shot. This was done to help add some tension and that things are constantly moving in a time where he just wants to be able to stand still and absorb what is going on around him.

Shot 6

Size/Angle/Frame: This is a medium-close, low, double shot. This was used to show the dynamic between student and mentor, and how the old man is clearly confident in his skill and focused on the art he is making, while the student is unsure of himself and trying to copy what he sees onto his own painting, more focused on copying rather than refining his craft..

Comp/Mise en Scene: There is a noticeable warm yellow tiny, making this set more vibrant and peaceful, akin to a fall or rising sun, though the old man is wearing a brown color, it is bright while the younger man is wearing a brighter color (Beige or white?), interestingly there is no sound outside of music and talking when the focus is on the student, but when the focus shifts to the teacher, you can hear sounds of wood and occasionally hear the paintbrush hitting something. This is all showing the focus the older man has, and how the younger one is more unfocused and not as skilled when it comes to painting.

Camera: The lens is likely a 80mm lens, with a small DoF, the camera is still during this shot, this was to help make these 2 stand out from the rest of the shot, and allow us to see the dynamic between these 2.

Shot 7

Size/Angle/Frame: This is a Medium-Full, High, Dirty Single Shot. This was done to help show the change at the end, where he is giving a child (I presume his child) some of the meat he extracted from the chicken. This shows a venerability from the old man as he had eaten it for himself, but now he is sharing it with someone else.

Comp/Mise en Scene: There is a dark, yet soft green, with a warm yellow tiny in this shot, the clothing they wear is vibrant and lively, There is no sound other than the music and the muffled dialogue from the senior. The set itself is very colorful and vibrant, showing that this set was made to help show that everything is bright for these 2 and they are comfortable with each other.

Camera: The lens is 50mm, little to no DoF, The camera starts with a boom, before doing an arced pull out. This was done to show make the viewer think he is going to eat the chicken, before it shows the child and him sharing it, and how it is so different from the previous time this was shown where he ate it for himself.

**dogma2026** · 11-10-2024, 08:44 PM

Roger Gonzales Jr

The image presents a scene from a film, with two characters in a setting that appears to be a diner or restaurant. Let me provide an analysis of the visual elements and their potential meanings without identifying the individuals:

Shot Size and Angle:
The shot is a medium close-up, focusing primarily on the male character in the foreground. This tighter framing emphasizes his facial expressions and the intensity of the moment. The slightly low-angle perspective on him creates a sense of power or importance, while the female character in the background is presented in a more neutral, straight-on angle.

Composition and Motion:
The frame is divided diagonally, with the male character on the left and the female character on the right. This creates a sense of visual tension and separation between the two. However, their gazes are directed towards each other, suggesting a connection or interaction. The lack of obvious movement in the scene creates a sense of stillness and contemplation.

Lenses and Camera Settings:
The use of a slightly wider lens, possibly a 35mm or 50mm, allows for the inclusion of the background elements while still maintaining the focus on the foreground characters. The warm, golden lighting and shallow depth of field give the image a nostalgic, cinematic quality.

Mise-en-Scène:
The set design, with its warm, cozy diner atmosphere, and the characters' costumes and makeup, help to establish a specific time period and mood. The use of wood paneling, vintage furnishings, and the overall color palette create a sense of familiarity and intimacy.

Overall, the visual choices in this scene suggest a narrative exploring the dynamics and emotions between the two characters, with the cinematic style and composition guiding the viewer's attention and interpretation of the scene.

The image depicts a whimsical, fantastical scene set in a lush, garden-like environment. Let's explore the visual elements and their potential meanings without identifying any specific individuals:

Shot Size and Angle:
The shot is a wide angle, capturing the expansive, magical setting. The characters are positioned in the foreground, with the older male figure and the younger female figure occupying the center of the frame. This choice of framing and angle suggests a sense of balance and interaction between the two characters.

Composition and Motion:
The composition is highly symmetrical, with the characters and the central decorative element (the gnome-like figure) forming a triangular arrangement. This creates a sense of visual stability and harmony. The lack of overt movement in the scene contributes to an atmosphere of contemplation and enchantment.

Lenses and Camera Settings:
The use of a wide-angle lens, likely in the range of 24mm to 35mm, allows for the capture of the lush, detailed environment while keeping the central characters in focus. The warm, golden tones and soft focus in the background suggest the use of a shallow depth of field, further emphasizing the dreamlike, fantastical quality of the scene.

Mise-en-Scène:
The setting, with its vibrant greenery, whimsical garden elements, and the presence of the gnome-like figure, creates a sense of magic and otherworldliness. The costumes and styling of the characters, with the older figure's hat and the younger figure's casual attire, contribute to the timeless, fairy-tale-like atmosphere.

Overall, the visual choices in this scene suggest a narrative exploring themes of imagination, wonder, and the relationship between the two characters, with the cinematic style and composition guiding the viewer's interpretation of the enchanting, fantastical setting.

The image presents an intimate, interior scene focused on a character engaged in what appears to be a thoughtful or contemplative moment. Let's explore the visual elements and their potential meanings without identifying the individual:

Shot Size and Angle:
The shot is a medium close-up, tightly framing the character's face and upper body. This close framing emphasizes the character's emotional state and creates a sense of intimacy and introspection. The straight-on angle of the shot places the viewer at eye level with the character, fostering a sense of engagement and connection.

Composition and Motion:
The composition is structured around the character, who is centrally positioned within the frame. The character's gaze is directed downwards, suggesting a focus on the written material in their hands. The lack of overt movement in the scene contributes to an atmosphere of stillness and concentration.

Lenses and Camera Settings:
The use of a medium focal length lens, likely in the range of 50-85mm, allows for a balance between capturing the character's expression and the surrounding environment. The warm, saturated color palette and soft lighting create a cozy, intimate atmosphere, drawing the viewer's attention to the character's pensive state.

Mise-en-Scène:
The set design, with its cluttered, eclectic arrangement of objects and artwork, suggests a personal, creative space. The character's casual attire and the lighting fixtures further reinforce the sense of a private, contemplative setting. The presence of the written material in the character's hands implies a narrative involving intellectual or creative pursuits.

Overall, the visual choices in this scene suggest a narrative exploring themes of introspection, thoughtfulness, and creative or intellectual engagement. The cinematic style and composition guide the viewer's attention and interpretation of the character's emotional state and the significance of the moment.

The image presents a striking, visually arresting scene focused on a character's face and the use of symbolic, surreal elements. Let's explore the visual elements and their potential meanings without identifying the individual:

Shot Size and Angle:
The shot is a tight, close-up framing of the character's face, emphasizing their expression and the use of the red, clown-like nose and berries. The direct, frontal angle creates a sense of immediacy and confrontation, drawing the viewer's attention to the character's gaze and the surreal, almost dreamlike quality of the image.

Composition and Motion:
The composition is centered on the character's face, with the red nose and berries occupying a significant portion of the frame. This symmetrical, static framing creates a sense of tension and unease, inviting the viewer to engage with the symbolic nature of the elements within the scene.

Lenses and Camera Settings:
The use of a macro or close-up lens, likely in the range of 85-100mm, allows for the detailed, high-contrast rendering of the character's facial features and the surreal elements. The shallow depth of field and dramatic lighting contribute to the overall surreal, almost nightmarish quality of the image.

Mise-en-Scène:
The dark, muted background, devoid of any clear context, enhances the sense of isolation and the character's detachment from a specific setting. The character's expression, with eyes closed and the red nose in place, invites interpretation and suggests a narrative involving themes of dreams, fantasy, or the subversion of reality.

Overall, the visual choices in this scene, particularly the close-up framing, the use of symbolic elements, and the surreal lighting and color palette, create a powerful, enigmatic image that invites the viewer to engage with the emotional and psychological dimensions of the character's experience.

The image presents a scene of a person on the floor in what appears to be a subway or underground passage. Let's explore the visual elements and their potential meanings without identifying the individual:

Shot Size and Angle:
The shot is a low-angle, wide-angle framing that captures the expansive environment while keeping the character in the foreground. This perspective creates a sense of scale and emphasizes the character's vulnerability and isolation within the larger, imposing setting.

Shot Composition and Motion:
The composition places the character in the center of the frame, with the convergence of architectural elements, such as the archway and staircase, drawing the viewer's attention to the character's position. The lack of overt movement in the scene, aside from the passing figures in the background, contributes to a sense of stillness and contemplation.

Lenses and Camera Settings:
The use of a wide-angle lens, likely in the range of 16-24mm, allows for the capture of the detailed, gritty environment while maintaining the character's presence as the focal point. The lighting, which appears to be a mix of natural and artificial sources, creates a somber, atmospheric quality that enhances the emotional tone of the scene.

Mise-en-Scène:
The setting, with its utilitarian subway or underground passage, suggests a public space that is often associated with isolation, transience, and social marginalization. The character's positioning on the floor, as well as their attire and posture, convey a sense of vulnerability and distress within this impersonal, urban environment.

Overall, the visual choices in this scene, such as the low-angle perspective, the static framing, and the gritty, atmospheric setting, create a sense of unease and invite the viewer to consider the emotional and social implications of the character's situation within the larger context of the urban landscape.

The image presents a close-up shot of a character's face juxtaposed with a skull-like object, creating an unsettling, almost dreamlike atmosphere. Let's explore the visual elements and their potential meanings without identifying the individual:

Shot Size and Angle:
The shot is a tight, close-up framing of the character's face, emphasizing their expression and the proximity of the skull-like object. The direct, straight-on angle places the viewer in a confrontational relationship with the character, drawing attention to the intensity of their gaze.

Composition and Motion:
The composition is centered on the character's face, with the skull-like object positioned just behind it, creating a symmetrical, almost surreal arrangement. The stillness and lack of overt movement in the scene contribute to the sense of contemplation and unease.

Lenses and Camera Settings:
The use of a macro or close-up lens, likely in the range of 85-100mm, allows for the detailed, high-contrast rendering of the character's facial features and the skull-like object. The dramatic lighting and color palette, with the warm, amber tones contrasting with the greenish hue of the skull, further enhance the surreal, almost nightmarish quality of the image.

Mise-en-Scène:
The minimalist, darkened background serves to isolate the character and the skull-like object, drawing the viewer's attention to the symbolic and psychological dimensions of their interaction. The character's subtle, almost enigmatic expression, combined with the juxtaposition of the human and the skeletal, invites interpretation and suggests themes of mortality, duality, and the subversion of reality.

Overall, the visual choices in this scene, particularly the tight framing, the use of symbolic elements, and the dramatic lighting and color palette, create a powerful, unsettling image that encourages the viewer to engage with the emotional and psychological undercurrents of the character's experience.

The image presents a warm, intimate close-up of a character's face, capturing a moment of joy and youthful energy. Let's explore the visual elements and their potential meanings without identifying the individual:

Shot Size and Angle:
The shot is a medium close-up, tightly framing the character's face and upper body. This close framing emphasizes the character's expressive features and creates a sense of intimacy and engagement with the viewer. The slightly elevated angle suggests a perspective that is slightly above the character, lending a sense of warmth and approachability.

Composition and Motion:
The composition is centered on the character's face, with the background elements, such as the blurred figures in the distance, serving to frame and enhance the focus on the character's expression. The character's slight smile and upward gaze contribute to a sense of optimism and positive energy within the scene.

Lenses and Camera Settings:
The use of a medium focal length lens, likely in the range of 50-85mm, allows for a balance between capturing the character's details and the surrounding environment. The warm, golden lighting and shallow depth of field create a dreamlike, nostalgic quality, drawing the viewer's attention to the character's radiant expression.

Mise-en-Scène:
The outdoor setting, with its warm, evening lighting and the presence of other figures in the background, suggests a social or public environment. The character's casual, youthful attire and their relaxed, joyful demeanor contribute to an atmosphere of carefree delight and lighthearted energy.

Overall, the visual choices in this scene, including the tight framing, the warm lighting, and the character's positive expression, create a sense of intimacy and emotional connection, inviting the viewer to engage with the character's experience of joy and optimism within the larger social context.

**vbarajas** · 11-11-2024, 04:07 PM

Valerie Barajas

Shot size, angle, framing: One shot, wide angle, dutch angle. This scene was created to show the audience and as well as the character how warped and unbalanced everything is, when Amelie sneaks into Collignon’s apartment to prank him.

Shot composition, direction, motion: The shot is filmed sideway and center on the character Colligon, as he opens his bathroom door. This scene gives disorientation when he starts to see things amiss in his apartment.

Lenses and other camera settings: Camera settings are at 50mm with a f-stop at f/16, shutter speed 1/500, and an IOS of 200

mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting is dim making the scene very disoriented. Colligon costume is dark green with red stripes. The is a lot of green tones in this movie that symbolizes Colligon character being a villain for how he treats his only worker.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There are squares in this frame that symbolizes him being trapped by Amelie’s pranks and not too sure if his mind is playing tricks on him.

Shot size, angle, framing: Wide shot, close up shot, and one shot. This frame was created to see the facial expression that Amelie has made while making a positive impact on people’s lives.

Shot composition, direction, motion: This is apan in camera movement with low angle and center focus on Amelie’s face and how dominate and control she have over this scene.

Lenses and other camera settings: Camera settings are between 35-50mm with a f-stop at f/8, shutter speed 1/500, and an IOS of over 800

mise en scène (set, lighting, costume, makeup, sound, etc.) The lighting is very bright, giving happiness and positiveness on how Amelie is affecting people around her. Her costume is a bright red color that symbolizes love, power, and dominance. Her make-up is very casual and neutral which makes her an ordinary person who wants to make people happy.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement) There are curves in the background the indicate the connection she has with people and lines that point directly towards that symbolize her being in control of the situation.

Shot size, angle, framing: Wide shot, 2 shot, high angle. This scene was created to show the first interaction that Amelie has with Nino.

Shot composition, direction, motion: The camera isangled downwards to show the audience how vulnerable Amelie is when she first interacts with Nino. The camera is also still and focuses on Amelie to capture her facial expression which is neutral for she does not know how to feel about Nino just yet.

Lenses and other camera settings: Camera settings are between 35-50mm with a f-stop at f/16, shutter speed 1/500, and an IOS of over 200

mise en scène (set, lighting, costume, makeup, sound, etc.): Lighting is dim with only one bright light in the background that symbolizes mysterious and hopefulness between the two characters. The costume that Amelie is wearing is a brown jacket, that symbolizes her being ordinary trying to meet someone who is mysterious. Nino is wearing a skeleton costume that indicates the scary ride he works at. Nino costumes also could symbolize mystery around him.

Shot size, angle, framing: Wide frame, single shot, cowboy shot. This was created to show how Amelie is a playing a mysterious hero against the evil grocer Colligon, who mistreats his worker.

Shot composition, direction, motion: The camera is angle low to give Amelie a more hero like reference who is powerful and unstoppable. The camera is center focus and still on Amelie as she poses for the camera.

Lenses and other camera settings: Camera settings are between 35-50mm with a f-stop at f/16, shutter speed 1/500, and an IOS of over 200

mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting is very low, there is no color in this scene, this frame is supposed to represent an old T.V. series called Zorro, where the hero is a mask vigilante who fights against corrupted government officials. Amelie is dress up in all black like the fictional character Zorro, which makes her mysterious in her appearance, as she disorganizes Colligon’s apartment to make him feel like he’s losing his mind.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There are squares in the background that symbolizes strength and power as she becomes a hero in this scene.

Shot size, angle, framing: Wide frame, close up shot, crowd shot. This scene was created to show the facial expression of Amelie face when she finally schemes a plan to meet with Nino.

Shot composition, direction, motion: Camera is still and focus on Amelie

Lenses and other camera settings: Camera settings are 50mm with a f-stop at f/5, shutter speed 1/500, and an IOS of 800

mise en scène (set, lighting, costume, makeup, sound, etc.): The lighting is very bright with a yellow tone to the scene that represents happiness yet also insecurities that Amelie feels towards Nino, but not quite ready to meet with him yet. Amelia is wearing a red jacket that symbolizes love and control.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): In the background there are women dress in red which also symbolizes love, there also couples in the background which also indicates being in love with someone.

Shot size, angle, framing: Wide frame, close up, one shot. This scene was created to show how emotional destressed Amelie is feeling when she didn’t get a chance to talk to Nino, when he was in the restaurant where she worked at.

Shot composition, direction, motion: Camera is still but low in angle to capture her feelings as she being melted away.

Lenses and other camera settings: Camera settings are 50mm with a f-stop at f/5, shutter speed 1/500, and an IOS of 800

mise en scène (set, lighting, costume, makeup, sound, etc.): Lighting is bright but shows negative effects that Amelie is feeling. Amelie costume is yellow with red polka dots to represent her love for Nino but also her insecurities and anxiety of how she really feels within herself. Her make up is casual and neutral that makes her look like an ordinary person.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement) There is brown square door in the background that represent being trapped and isolated from the person she wants to be with.

Shot size, angle, framing: Close up, wide frame, 2 shot. The scene was created to show that Nino and Amelie have finally met and are now romantically involved with each other.

Shot composition, direction, motion: Camera is stilled and focus on Nino and Amelie as they finally interact with each other.

Lenses and other camera settings: Camera settings are 50mm with a f-stop at f/5, shutter speed 1/500, and an IOS of 200

mise en scène (set, lighting, costume, makeup, sound, etc.): Lighting is dim to give a soft and welcoming environment as the two lovers engage in interactions with each other.

**Meg Villanueva** · 11-11-2024, 07:08 PM

Meg Villanueva

Attached Files

Meg Villanueva - VNC Amelie.pdf (8.44 MB, 6 views)

**Lgcastro** · 11-11-2024, 08:34 PM

Lourdes Castro

Shot 1: This is a close up shot allowing us to see Amelie's inner feelings with her facial expressions and her tone. This shot helps to show her time of decision when she was thinking about pulling the plug for the television. It is a single clean framing we are only seeing young Amelie and her hand. The framing is at eye level if we are looking straight at her we are right at eye level for the purpose that the director wanted us to be on the same level as she is. The shot composition is directing our eye to where her eyes are, the television wire. The shot direction is along the x-axis going from left to right horizontally as we bounce back and forth between her eyes and her hand on the prop. The lens used for this shot is a telephoto lens at about 120mm with an F-Number os most likely 3 with everything in the foreground including young Amelie and the prop are within focus, while the background like the trees and the rest of the building are slightly out of focus. The Mise en scene in this shot is greatly driven by the costume design and the colors used in the shot. The costume goes to show that she is a little girl wearing a cute little sweater with her hair in pigtails to make her look more immature and innocent. The color choices are interesting as well the warm tones of the background contrasting with the cool tone green of her sweater.

Shot 2: This is a close up shot of Amelie while she is at he movie theater, we are allowed to see her inner thoughts and feelings. All while we are being told that she enjoys going to the cinema on Friday evenings. We can also argue that this close up shot can show a time of anxiety weather is being about the movie or about the position she is in sitting in between two strangers during the movie. This is a single dirty shot we see Amelie in full focus while the other characters around her are out of focus because they aren't as important within the shot. This is a low angle we are looking up at her admiring the movie. This can possible show her vulnerability as we see her fully focusing on the movie. The shot composition is balanced we see Amelie within this sea of people in the theater but it is also somehow balanced with equal number of people on each side of her. The lens used for this shot is a wide angle at about 28mm with an F-Number of most likely 4. The expressions of the people in the background are out of focus enough that they aren't out main hot spot but in focus enough that we know they are there. The mise en scene in this shot is all lighting we are getting the cool tone lighting from the glow of the theater screen which is giving a spooky and eerie vibe to the overall image.

Shot 3: This shot is a wide shot focusing on the comparison on where the character is within the environment. The director is making a statement on the depth and size of the character and the surrounding environment. This is a single clean shot we see her in full focus within the scene. Shot from a low angle looking up at Amelie the camera is below our eye level showing the vulnerability of her as she looks into the water skipping rocks. The shot composition is balanced we can very clearly see a horizontal line draw across the screen with the water below and the bridge above, it is very easily identifiable. The shot direction is horizontally along the x-axis from left to right. The lens used for this shot is a telephoto lens at about 105 mm with an F-Number of about 8 with everything in the foreground including her and the bridge are in full focus but the background is slightly just out os focus to not distract the eye. The mise en scene in this shot is very interesting fully driven by the colors. Amelie is standing out like a sore thumb in this shot, everything around her is greens and yellows and then you get to her and she is popping out the frame with the red dress.

Shot 4: This is a wide shot really giving an emphasis on where the characters are in relation to each other and where they are in relation to the environment. We are also seeing the size and depth difference and the size of the character compared to each other. This can be considered a two shot even though we can't fully see any of the characters faces. We are looking from a high angle, this angle normally has three different primary purposes to is and almost all of then fit this scene. Conveying narrative information we are getting a closer look an view as to what the story is. The shot composition is directing the eye to the glass man in his apartment. we are looking over the shoulder down towards the window. This is some shape within frame, the character the glass man is sitting perfectly in the shape of the window with Amelie having a perfect view of him. The lens used for this shot was a wide angle at about 85-90mm with an F-Number of about 20-22. The back of Amelie and the foreground as well as the glass man in the background are both in enough focus for us to see the detail of the painting as well as her hair. The mise en scene in this shot is purely lighting, we have motivated and unmotivated light being seen. The motivated light coming from the lamp he glass man is using to view his painting and the unmotivated lighting is the strong light being casted onto the side of her face and neck.

Shot 5: This is a wide shot which is similar to the previous establishing shot that we saw. This shot is making a statement when it comes to the size and depth of the character in comparison to the environment. This is a one shot framing because we can only see Amelie in the sho, even though it is from pretty far away we still know that she is the only one within the environment. We are looking from a low angle up from the water at Amelie standing on the sidewalk. The shot composition is directing the to Amelie standing on the side and the reflections of the lights on the water. The screen direction is along the x-axis horizontally from left to right, looking at the water on the left and Amelie on the right. The lens used for this shot is a telephoto lens at around 100-105mm with an F-Number of 22 with almost everything being fully in focus. The mise en scene in this shot is driven by the lighting the reflection of the red lights in the water give a sense of urgency in my opinion and gives the vibe of danger in a way.

Shot 6: This shot is a wide shot focusing on the characters and where she is in relation to the environment and her relationship to her inner thoughts. This is single dirty framing because it could be considered a two shot but can't see the face and emotion of the second character only of Amelie. This is shot from a eye level angle which is pretty natural for the surrounding audience. The shot composition is directing the eye to her inner thought bubble on the left side of the screen. The screen direction is along the x-axis traveling horizontally from left to right The lends used for this shot is a wide angle at about 85mm and an F-Number of 16 with everything in the foreground being in focus and almost everything in the background is slightly out of focus. The mise en scene in this shot I really interesting because it is all color choice with the greens on the left side and the reds on the right and the combination of the colors in the middle.

Shot 7: This shot is a wide shot with emphasis on the relationship of the characters and where they are in relation to the environment around them. his is a two shot framing we can see the faces and the emotion of both of the characters. Shot from a low angle with he camera below us the subjects eye level. The shot composition is directing the eye to the motion blur of the happy coupe biking around the city. The lens used for this shot is a wide angle lens a about 55mm with an F-Number of 16 with everything in the background of focus.

**ediValle** · 11-11-2024, 09:31 PM

Ediza Valle

1.
A full body shot with a wide framing in a low camera angle to beautifully show Amelie throwing rocks. The scene has natural lighting whereas throughout the film, it’s got a hint of yellowish warm lighting.

2.
a full body shot with a three person in shot frame in a low eye level camera angle to not only show the surroundings but the people in it. A well lit scene, very bright since it’s day and there’s windows in the scene to help light up the scene.

3.
a full body shot, single shot with a low camera angle to show Amelie being sneaky as she puts something under a person’s rug. Lighting is a bit dark near the camera, but that’s because Amalie is not trying to draw to much attention to herself and the best way to stay hidden is in the dark.

4.
Medium close up, 2 person shot, over the shoulder angle to see Amelie’s face as she reacts to her words and to what the man behind her says. Another well lit scene, with a more yellow hint of lighting.

5.
Establishing shot, with a low angle to show where the setting will take place in the story. The lighting gives off a more green tone, and if you know how colors works yellow and blue make green, which works well for a day lit scene.

6.
Medium close up, frame within frame, eye level angle to show Amelie watching Nino through a mirror, sneakily watching Nino without being noticed. Though it’s lit, it’s a bit dim. It’s less yellow and more orange. Again, it’s because Amelie is hidden somewhere, watching Nino. If you see Nino, there’s more light where he is, it’s brother than where Amelie is.

7.
Medium close up, over the shoulder, low angle to show Nino and Amelie interacting with each other, and it’s a close up since we don’t need to see their full bodies throughout this sequence. Well yet a dim lit room, the scene having a more orangish tone to it, the source of light we see in the scene being the lamp. We see the area being darker as it heads to the right, but there’s clearing another light we can’t see since it lights up Nino and Amelie’s side.

**JuGamez20** · 11-11-2024, 10:26 PM

julian gamez

act 1

Shot size, angle, framing= close up shot, single frame, and eye level angle. because she is the only one in frame we focus on, and we only see her face in the shot. this is shown because she is the main source of attention and she might have inner thoughts within her
Shot composition, direction, motion= shallow focus, we are facing foward with her full face in front, and no motion while she is the one moving to get closer to the camera. this is to show that she is very much thinking about something serious and important to the plot.
Lenses and other camera settings= 400mm or above and the aperature is extremely large to get this kind of blur. to show she is the main character to learn to at this time
mise en scène (set, lighting, costume, makeup, sound, etc.) the lighting is yellow, she is in a old fashioned waiteress outfit. the ssound of the scene is in the style of a diner kind of thing with sliverware clicking, waiters walking around the place etc.
Other relevant information, triangle in a way to show is pretty serious emotions like she is waiting for somebody or something to happen

act 2

Shot size, angle, framing= medium close up, single, and eye level, he is the only one in the fframe, we see the chest and up part of his body. to show he is sitting down and saying dialogue and we should listin to him
Shot composition, direction, motion= half and half shallow and deep, foward facing, and no motion on the camera. to show we need to pay attention to him and that he is sitting down and no movement should be allowed
Lenses and other camera settings= 250mm-300mm, with the aperature being a small size to let us know this is a semi serious scene to listin to
mise en scène (set, lighting, costume, makeup, sound, etc.)= the lighting is in this yellow color like urine fro some reason, the sound is just the dialougue with occasional air vent , and he is wearing a russian winter hat, and brown coat
Other relevant information,= square because this scene is very direct to the other person he is talking to

Shot size, angle, framing= three/single frame, eye level, and close up. because it has three people in shot but she the only one in focus, and she is at the center for her eyes to be visible and for close up we see her from shoulders up to show there are probably some serious thoughts going through her head.
Shot composition, direction, motion= shallow focus, facing foward and motion close up to her. because the focus on the background is blurred a bit, and we see her face in frame, and no motion at the moment. to show that hse is not only the main source for attention in scene so we need to listin to her.
Lenses and other camera settings= 300mm or above, the aperature is moved to a large to slightly smaller. to show the background does not matter in the moment
mise en scène (set, lighting, costume, makeup, sound, etc.) it's outside woth this yellowish green color somehow. nature sounds are playing and a conversation in the background by two people. and she is talking to herself about windmills.
Other relevant information,= circular to portray a semi serious scene of some kind and to show she seems confused about something like she is processing about this.

Shot size, angle, framing= single frame, close up, eye level to see that he is the one in frame, we only see his shoulders up at eye level. to show that the person we should focus on for this scene.
Shot composition, direction, motion= semi shallow focus, facing foward, and no motion. at this time a little bit of blurriness is shown and only he is moving towards the camera, to show that the main person we focus on is him
Lenses and other camera settings= 300mm or above, the aperature is very small with no blur. to show that he is the main guy to pay attention to
mise en scène (set, lighting, costume, makeup, sound, etc.) carnival setting with a merry go round, he is wearing a dark green jacket, must be hot and the yellow filter is on and the sound is filled with people having fun and enjoying the carnival.
Other relevant information,= triangle or circle. triangle because this is a sort of aggressive scene of him internally thinking about something and circle because he has congusion during this small amount of time

Shot size, angle, framing three shot, eye level, medium full shot. because three people are visible, and we see knees and up from the characters, and we see them at eye level. because this is a reaction to the thing thats happening.
Shot composition, direction, motion= deep focus, facing foward, no motion at the time. no blurriness and we see them foward only one of them are facing behind with the head turn. to show they had a reaction to whatever is happening.
Lenses and other camera settings= 250mm-300mm and no change in the aperature to show not a serious scene but it's interesting to see this reaction from them
mise en scène (set, lighting, costume, makeup, sound, etc.) its a bar with beer, wine and other things set up in a messy sort of way. with the sounds of people eating and some talking with the stund silence.
Other relevant information, circle because they have a confusion reaction to whatever is happening

act 3

Shot size, angle, framing= crowd frame, over the head angle, full body. we see multiple people and see way above the peoples heads and we see all of their full body in shot. this is show a montage of the ending of the movie of whats happening after the events of the movie.
Shot composition, direction, motion deep focus, moving in the x-axis. because no blur was shown and we see the enviornment moving left of the x- axis. to get the full picture cause it would be too big to get all of it.
Lenses and other camera settings= 350mm and above with the aperature being small with a clear picture. this is because we need to see the people all above the sky.
mise en scène (set, lighting, costume, makeup, sound, etc.) outside in the evening and the group is above the building they cast shadows from the sun
Other relevant information,= circle because the scene is very calm and passive as like nothing aggressive is happening and we shouldn't worry about nothing in this scene

Shot size, angle, framing= two frame, shoulder angle, full body. we see all of the body of them, we also can see them not entirely but we see them from a lower angle. to show that this is the end of the movie to see a montage of some kind to show their relationship blooming.
Shot composition, direction, motion= deep focus, moving in the z axis foward and the motion was moving along with the motorcycle. to show how fast they go and how much they are happy to be together
Lenses and other camera settings= 250mm and the aperature is a little confusing because of the fast movement to show that
mise en scène (set, lighting, costume, makeup, sound, etc.) the outside of the building with cars parked everywhere, and they are wearing comfortable clothes to drive a motorcycle to show this is the end of the movie to get that payoff of them being together and to enjoy their new life
Other relevant information, circle because its seen that they are happy to show this is a romantic thing to see of a couple on a motorcycle

**Ashton koranek** · 11-11-2024, 10:56 PM

1. This is a medium shot of Amelie's mother organizing her bag during a montage section of things that her mother likes and dislikes. The angle is that of a low angle as this is something she enjoys doing so she might feel empowered about doing it with it being a single that is focused on her and her bag. The shot Composition is that of a old time French house that is taken care off. Their is movement of the camera in this scene with the montage style but for this section specifically the camera moves left to right almost like a mirror to help putting the items right to left. The lenses is likely nothing to crazy probably around the 35 range as everything looks normal in the scene with the F-Stop being on the lower side but not super low as while the mother is in focus more the things around her aren't super out of focus as well The Mise en scene has her well lit and look like someone of medium class who is able to afford certain luxury's like the bottle of perfume on the table but not royalty. Another thing in this scene I thought about what how it almost mirrors Amelies father with his tool both with her bag. They both love to clean and put everything back in it. Thought it was a funny connection between the two.

Act 2:

2. This is a either a medium close up or a close up shot of bretodeau after he has seen the bike toy he had when we was a young child. The angle of the shot is a low angle almost to show vulnerability as he is bursting into tears with the thoughts of his childhood. The Framing of the shot is a single as to focus on his reaction to the time capsule. The Composition of the shot is a person in a phone booth with a very yellowish lighting that is used in almost every shot in this movie. The Motion of the camera while very subtle goes up slightly as he looks up to see who brought this to him. The F-stop of this is gonna be in the low range as the outside of the phone booth is impossible to make out what anything really is besides the color and vague shape of them. The Mise En Scene is that of a somber but nostalgic tone He is crying of times passed but its not really sad tears about the past just missing the past. I really like the montage after of his childhood and why these certain items meant so much to him great story building and amazing use of show don't tell.

3. I would say this is a insert shot of her pocket with the scene starting with being able to see her face and it cutting down to her pocket with the keys. The angle is that of low for her when it starts I would say cause she is doing something as someone with power being she has the keys. The show composition is of her walking down the street walking to key cutting store. The scene has her walking left to right and keeps that same left to right when it cuts to the shot of the front of the store as she enters screen right and walks to the left to enter the building. The Lens is a normal sized lens with the F-Stop im gonna say its set to a lower value cause the background is very blurry and out of focues but part of that could be the fact that the camera is in motion and its making the background more blurry the normal. The Mise En Scene is very important I would say mostly due to her red coat. I really like how the pocket is zoomed into with people maybe not knowing she was planning till the next shot but the next time we see her walking out of the guys apartment the key glows threw her pocket.

4. This is a medium close up shot of Lucien making fun of collignon. It is a low angle shot as he is kinda letting it all out and feeling powerful and eventually the other guy in the scene has to calm him down. The shot is a single showing just him in the scene is able to capture his feeling to it. The shot composition is a apartment with a yellow hue beaming in from the windows with the only light being mostly the from that window. The Camera I noticed when it cuts to the other person its still but every time it cuts to Lucien its almost like a handheld shot with how much the camera almost sways in random directions. I would say this was done to give off the almost playful and excited nature of Lucien in this scene. The F-stop is low cause the background is blurry but some of that comes from the movement. The Mise En Scene in terms of lighting is kinda interesting with the only real source of light in this scene being from the window as you can see the background corridor dark as could be.

5. This is a insert shot of the picture Amelie left for Nino saying where to meet the next day. The angle is high to give us almost a POV shot of nino reading the note. The framing is focused on the note and nothing else in the shot. The composition is the note and everything thats on it. The motion of the scene is him putting his hand up to read the note after finding it on his bike. The F-stop on the lens is very low with the entire background besides the note being very blurry. Their isnt a lot in Mise en scene besides his getting out of work and then seeing the note and reading it kinda confused about what its about.

Act 3

6. I would say this could be classified as a medium shot of the two characters with the angle being high as its composition is over the shoulder. The framing is single. The Direction and motion of the scene and more specifically how much the camera is moved in is kinda interesting with the camera being this very far out shot and then cutting to a almost POV of Nino looking at Amelie then instead of cutting back to this shot it cuts to a almost POV of Amelie as he points out that she is 100% the person in the picture. The Movement of the camera helps with the pacing of the scene and after she just walks it cuts to a over the shoulder of nino looking at Amelie as he is almost dumbfounded and her embarrassed walks away. The MIse En Scene of the scene is a nicely lit of both of the characters where half of their face is not lit as well as the other and I thought it maybe him holding it on the darker side could relate to how the "light" side of her is a waitress but the "dark" is this cat and mouse she is playing with nino

7. This is a close up shot of Amelie crying after realizing that the sound behind her was caused by her cat instead of nino. The angle is low as she is very much in a vulnerable state with her crying and it being a single shot showing just her and how she is feeling in this moment. The composition of this shot and scene in general is amazing as with the almost crazy things that happen in the movie its almost believable that he could be going up to her. What I thought was interesting was that the shots of him going up to her in her mind its almost shaped and placed like a thought bubble above her like its what she really wants. We are literally able to see her thoughts are. The F-stop in this scene is low with the background being very blurry and her being in focus for this shot. The Mise En Scene her costume almost is like a double gotcha with the fake out of the cat cause she looks almost dressed up like she invited someone over she is also wearing green instead of red which could be seen as a more inviting color.

**hmdavis** · 11-11-2024, 11:31 PM

Hailee Davis

1. This is a medium wide shot at a slight low angle mostly being used to show how close her mother was to her teaching her and how she wanted to keep a close eye since they’re worried about her health. One thing I noticed is how the colors in this scene are all the same except for the pink of her shirt and hairpin showing her to stand out as herself while the home is her parents taste so the mom blends more into it. Another thing I noticed is how the rule of thirds helps us focus on only two things, the girl and the chalkboard that she is reading, There are also a lot of lines that are used to point towards the chalkboard making it stand out. Lastly The use of a telephoto lens shows you the whole world she is in.

2. This close up shot at a slight low angle and dirty single really shows how much she is getting into thought from what the man is saying. The use of deep focus to really focus on her face really shows the emotion that she is feeling during this moment, as well as the rule of thirds making it so you can still see the man, while he is blurry, so that we always know who is talking during the moment, even if the point of the shot is to focus more on her reaction to the things he is saying.

3. This shot is a medium shot at a low angle where we get to see a moment where she has power over the situation, and can do whatever she wants. Since she is standing and just overall higher up compared to her coworker, she probably used this moment since she is vulnerable and that she can do whatever she wants since her coworker is looking up to her. It also helps that while there is a slight blur on the background, it still feels like the whole background blends together keeping the two in focus from all the similar colors. Another thing is that Amelie is in the top right third while her coworker is in the bottom left third, adding to the power dynamic.

4. This wide shot that starts at a high angle, and goes to a low angle shows how his world is changing from clean and happy to showing the trash and rubble of his life falling apart because he doesn’t understand what is going on. The super wide shot also shows how empty the whole area is and how the time is so different from when he usually goes into work. It also shows how he doesn’t pay attention to the people around him and how he is more focused on himself because his whole walk there he didn’t even think to stop and wonder based on the daytime an lack of people until a loud noise was made.

5. This medium wide shot at a low angle and dirty single works for this scene as it really makes you focus on her as she is looking down into the bathroom door where the two characters are doing stuff. The use of the objects and counters around her really force you to look at her since it is just a sea of grey, as well as the use of her bright red shirt making her pop out In the whole scene. The only other thing to focus on would be her coworker behind her when she finally hears what is happening which is also framed well in the empty space as is zooms into amelies face, even if she does blend into the background of grey at first.

6. This clean single close up shot at a low angle really shows how she is thinking as she tries to come up with things to get the repairman to come check out the photo booth. Its also a lovely shot as it uses the rule of thirds to show her reflection as if there could be some doubt looking at herself, while our focus is pointed directly at the center. Another thing is how the camera is tilted to show how she is thinking and is really showing how off the wall the plan is, as shes is just trying to make things up as she goes.

7. This shot is a close up at a high angle as a dirty single. This shot is really nice as it shows her getting incredibly close and personal in this shot just trying to get out to go talk to him. The colors are really nice too as while she is shown wearing a lot of reds the green shows like the change of her mindset and how she is working the courage to face her fears. It also really helps as the lines from the man and the hallways behind her point towards her making he the focus. Another thing is with being over the mans shoulder it makes it feel incredibly personal, also helping show the gap that was shortened between them.

**NearSharp** · 11-12-2024, 12:24 AM

Nathan Munoz

Act 1: Shot 1

Shot size: Medium Shot that helps bring focus to the cloud and camera that she is using.
Angle: Low Angle that helps us establish that she is looking up.
Framing: Over the Shoulder, used to bring focus to the Rabbit shaped cloud.
Shot composition: Young Amelie takes up the right side of the frame. She takes up little space compared to the rabbit and house which take up the most.
Direction: Young Amelie remains still on the right side of the frame and is taking photos of clouds. This helps give a nice look into child whimsy.
Motion: The camera remains static to allow the whimsy of seeing a rabbit shaped cloud to soak in.
Lenses and other camera settings: 200mm, f22
Mise en Scène: the color of her sweater along with the cloud being shaped as a rabbit really make this scene nice to look at. The color grading as well helps tie it all together as its this orange hue.

Act 2: Shot 1

Shot size: Master Shot that establishes her relationship to her bedroom and the binder she holds.
Angle: Low Angle
Framing: Clean Single where the only person on screen is her and she is the only one we can focus on.
Shot composition: she is framed within the bars of her bed until the camera moves up.
Direction: Amelie is in the middle of the frame and looks through the binder she found.
Motion: The Camera moves up before fully rising above the rails of the bed.
Lenses and other camera settings: 35mm, f 11
Mise en Scène: The design of her room is warm and inviting, creating a cozy atmosphere.The railing of her bed frames her beautifully, adding a touch of elegance while also emphasizing her presence in the space.

Act 2: Shot 2

Shot size: Medium Close, despite starting at a Medium full-shot, the camera swoops in and lands on a medium close shot that helps capture the pure discomfort in Amelie’s face.
Angle: A low angle shot that expresses vulnerability and discomfort. By positioning the camera below the subject, it emphasizes their feelings of unease.
Framing: Clean single that focuses on the expression of Amelie during this uncomfortable scene.
Shot composition: Amelie occupies the center of the screen but appears smaller compared to the background. This visual composition emphasizes her feelings of discomfort and insignificance in the situation, highlighting her vulnerability as she navigates her surroundings.
Direction: Amelie remains in the middle of the frame and doesn't move at all but the camera swoops in on her face.
Motion: The camera slowly moves in and tilts up to focus on Amelie's face, effectively conveying her discomfort and the feeling of secondhand embarrassment. This close-up captures her expressions, drawing the audience into her emotional experience and highlighting her vulnerability in the moment.
Lenses and other camera settings: 50mm - 70mm, f 2
Mise en Scène: I love the camera movement, it goes from this medium full shot that shows her surroundings before pushing in on her face to fully focus on the emotions she's feeling is great.

Act 2: Shot 3

Shot size: Insert shot to show the funny little gnomes in odd places (he’s not supposed to be there)
Angle: High Angle to show that the person is looking down at the photos from their point of view.
Framing: Point of View, we are looking at the photos from the eyes of the man who received them.
Shot composition: the two gnomes in the photo are both following the rule of thirds and land perfectly on the lines. This helps direct our focus towards them. And of course their bright red hats.
Direction: The pictures remain stationary and both occupy both sides of the screen.
Motion: The camera remains static to help showcase the absurd photos.
Lenses and other camera settings: 15mm - 30mm, f 1.4
Mise en Scène: I love how the red color on their hats make them pop out so much in this scene. It's such a nice way to divert our attention to both of them.

Act 2: Shot 4

Shot size: A wide shot that effectively establishes the location while also conveying a sense of isolation. The broad view captures the surroundings, making the space feel large and empty, which highlights the character's solitude in that particular setting.
Angle: Low Angle
Framing: A Single that despite having so much empty space drags our focus to the only person who occupies that space.
Shot composition: A wide shot that showcases a vast space, with Amelie occupying only a small portion of it.
Direction: Amelie remains motionless on the left of the screen while the camera pans over to her
Motion: The camera trucks along towards the left side of the screen where Amelie resides. It's used to help show scale and establish a location.
Lenses and other camera settings: 15mm - 35mm, f 16
Mise en Scène: a lovely scene mostly composed of greens with nice hints of yellow that help light the scene and bring our attention to the left side where Amelie resides.

Act 3: Shot 1

Shot size:A wide shot that emphasizes isolation, making the surroundings feel vast and empty, which deepens the emotional impact.
Angle: A high angle shot that intensifies the feeling of isolation. By positioning the camera above her, it creates a sense of distance and separation, making her appear small and alone in her surroundings. This perspective effectively highlights her emotional state, emphasizing the loneliness she experiences in that moment.
Framing: Clean single focusing on Amelie as the only character in a large, expansive room. Her solid black silhouette contrasts sharply against the lighter background, making her presence stand out. This composition emphasizes her solitude, highlighting the vastness of the space around her and reinforcing the feelings of isolation and introspection she experiences in that moment.
Shot composition: Amelie is off-center and alone in a large room, which dominates the frame and makes her appear one of the smallest elements within the space.
Direction: Amelie remains still near the middle of the frame, alone in the expansive space.Her stillness adds to the poignant atmosphere, inviting the viewer to reflect on her emotions and the weight of her isolation in that moment.
Motion: The camera remains static to further show the isolation in this scene.
Lenses and other camera settings: 15mm - 35mm, f 16
Mise en Scène: The shot beautifully conveys a sense of loneliness, enhanced by the overwhelming yellow color that fills the scene. This warm hue creates a striking contrast with Amelie’s silhouette, emphasizing her isolation while also adding an emotional depth to the atmosphere. The combination of the expansive space and the vibrant color evokes a complex blend of warmth and solitude, drawing the viewer into her emotional experience.

Act 3: Shot 2

Shot size: A close-up shot that focuses on her face and emotions, allowing for a deeper exploration of her eyes. This intimate framing captures subtle expressions and feelings, drawing the audience into her personal experience and enhancing the emotional connection with her character.
Angle: A high angle shot that emphasizes Amelie's vulnerability and the overwhelming emotions she is experiencing. By looking down on her, the camera captures her feelings of being small and exposed, intensifying the weight of her emotions and inviting the audience to connect with her internal struggle.
Framing: Clean Single that focuses on her face and eyes. The focus on her eyes draws attention to her thoughts and feelings, creating an intimate moment that resonates with the audience.
Shot composition: She takes up most of the screen. Her eyes fall perfectly within the rule of thirds and helps bring our attention to her eyes.
Direction: Amelie remains still in the center of the frame as she soaks in the advice that Raymond is giving her.
Motion: The camera remains static so that we may only focus on the face and emotions Amelie is showing and feeling.
Lenses and other camera settings: 50mm-85mm, f 2.8
Mise en Scène: Her eyes in the scene are magical. They look as if she's about to cry and you have this l shaped light that's being reflected in both of her eyes. It always draws my attention towards them.