Abstract Quoting Truffaut's Jules and Jim, Améélie claims to be a new New Wave film. Instead, its calculated style returns to 1930s Poetic Realism and Under the Roofs of Paris. With spontaneity and complexity stripped from character and city alike, Améélie delivers merely a pleasurable fantasy of infantile satisfactions.
Améélie, or Le Fabuleux Destin du Cinééma Franççais
Dudley Andrew is Professor of Comparative Literature and director of graduate work in the Film Studies Program at Yale University. On French cinema he has published Andréé Bazin (Oxford, 1978), Breathless (Rutgers, 1989), Mists of Regret: Culture and Sensibility in Classic French Film (Princeton, 1995), The Image in Dispute: Art and Cinema in the Age of Photography (ed.) (Texas, 1997), and Popular Front Paris and the Poetics of Culture (co-authored with Steven Ungar and forthcoming from Harvard University Press).
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Dudley Andrew; Améélie, or Le Fabuleux Destin du Cinééma Franççais. Film Quarterly 1 January 2004; 57 (3): 34–46. doi: https://doi.org/10.1525/fq.2004.57.3.34
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