A Study Of The Aesthetic Style Of Jean-Pierre Jeunet's Bantering Rhapsody

As the representative figure of new French film,jean-pierre hot inside was welcomed by the audience and with the question of academic circles,the scholars think he is a director only paying attention to form and ignore the content,however hot inner focus on external manifestation of the film at the same time,the same tough on their substance,and has the original opinion,constantly improve,form their own independent style,in this paper,the research object is jean-pierre hot so far completed within seven films.Therese films have always been quite stylized,no matter the use of lens language or the adjustment of color.From the ambiguity of image aesthetics to the isomorphism with French films,the bantering and rhapsodic style is manifested.The introduction mainly discusses the research background and significance of this paper,and carefully sorts out the research status of this topic at home and abroad,as well as the research methods and creative ideas of this paper.Jean Pierre gerne Outlines the history and style of film making and explains the origin of playful rhapsody.The first chapter mainly starts from the image aesthetics.The films used highly saturated colors and horrible and gloomy dark tones,rich and exaggerated lens language to create the playful spectacle of the picture,the sketch of the outline pattern of the characters and the clever use of animation effects in the film also add a little color to the playful style of the film.The second chapter mainly starts from the text,analyzes the unique styles of Rene in terms of the playful nature of plots,from the ambiguity of characters to the fatalistic cycle of domino effect,from the psychological montage construction in surrealism to the post-modern collage aesthetics,to complete the expression of the rhapsodic style of film text.The third chapter mainly starts from the absence of parents image,the reconstruction of children's image and the defamiliarization of self,expresses the inner anxiety and fantasy,embodies the theme of inner trauma,questions and uneasiness of self-identity,and composes the rhapsody of history and incomplete memory.The fourth chapter mainly starts from the isomorphic relationship between genet films and French films,from the replacement and collapse of generations,the review and inspiration of history,and the expression of depression and trauma,from the point to the surface,and from the art of film to the cultural level to complete the construction of historical memory in genet films.