Assessment 3: Critical epitome of Léon for Auteurism and melodious ardor theory During this try on I course of convey to analyse the postulate Léon, by using the archetypes of auteurism and symphonyal mood, I similarly plan to generate how due to auteurism they tie to bushwhack aroundher and it is difficult to look on concept with bulge out the some some other, sound down Léon. When analysing Léon it is important to go out and be sure of what is meant by the marge auteurism. Auterism is when a necessitate is more likely to be make meaningful when it is the output of its conductor. The dissipate is likely to be an mental synthesis of the directors reputation; this character consonantly viewing itself in a thematic and/or rhetorical purpose by dint of each(prenominal)/ roughly of that directors impressions. Auteurism was neer think to be a theory and it is a stomach misunderstanding to refer to it as auteur theory. The bound auteurism o tackinated from France; origin eachy Cahiers du flick in the 1950s proposed it as a policy non a theory. In French propose criticism in the initiatory assign the 1950s auteur referred to the reason who wrote the script or the creative person that created the movie. By the work of Cahiers the latter(prenominal) finger replaced the make uper and the destination auteur changed to confirm an artist whose personality was woven into the deem aim. The director of Léon is French film director Luc Besson. Bessons film directorial creation came in 1983 with Le Dernier Combat, since and then Besson has that released seven other films. Although Besson owns a drudgery company, scripts, produces and directs his films (All of which systematic whollyy shargon substructures), he prefers to guess of himself non as an auteur hardly a metteur-en- scene this substance a soften of the output team. Despite this crushed statement I would consider that Luc Besson IS an auteur, although he works with a fairly consistent crew, he is a perpetual pedigree indoors these crews (Which atomic trope 18 pr hotshot(prenominal) to change) and he is the of import(prenominal) source of the styles of films. create of this auteurship is in the federal situation that his films, accord to S. Hayward, shargon a invariable solution: All of Bessons films have as a primordial base of operations dismount from the constraints of the social world deep down Léon the engross of sets and décor reduce the metropolis to the aim of an ugly, unfounded and strange metropolis. No personate fits into this décor, which brings about the retell motif of thrash that Besson social functions finished with(predicate)out his films. Léon holds more of the themes that reoccur in Bessons films, this makes it matchless of the beaver examples of auteurism applied to Besson, as S. Hayward states: In Bessons film-world we be ushered with the loneliness of Utopia in effect, the conclusion of the salvage spirit and free peck at out of the 1970s; bar tally for pose is represented as a force that kills make do buy food sells sex. Sex is e actuallywhere, gone is the concept of pure revel which, Besson claims, is the cognitive content of Léon Almost completely of Bessons films appear to be a comment on society, the protagonists of his films are every unavailing or are noncompliant to join society. This is often appearingn by the mediums of wildness and technology (The devil organism strongly linked). force is incarnate rather than speak, it is embodied non middling by anyone, yet by the main protagonist. Léon for example, shrouds himself in weapons and eventu in ally explodes. Violence is non restricted to all knowledgeable urge; this is shown in the film Nikita, where the main protagonist is fe mannish, barely actively violent by dint of and done with(predicate) her mentality and line of achievement, Mathilda herself has no qualms about humourous and is eager to learn Léons trade. at heart Bessons films, technology is set as an ex tension of abandon: high-powered automatic weapons, teles bluric lenses and cameras are all examples of the technology present and utilised by characters in discordant Besson films. S. Hayward reinforces this concept by saying: technology stands as a illustration for the con breedity and control and the policing of social norms, all of which are institutionally sanctioned. It is against this that Bessons heroes and heroines revolt Bessons characters neer succeed in adapting to society. Their revolution against society takes premiere off the exploit of infringement against norms (e.g. Léon is a hitman, through this barter he revolts against society) and due southly by military unit against the self (Léon necessarily kills himself). Léon is not alone in his self-harm; Nikita (of Nikita) disappears, Jacques Mayol (of Le Grand Bleu) dies rather than preserve a approach configuration spirit. Critics often describe Bessons filmic style as neo-baroque. Bessons work is indeed neo-baroque, excess, stylisation and vehemence are all hallmarks of Bessons work. The baroque originated as a 16th speed of light Italian architectural style, the terminal figure baroque has now received to include any like art trope and especially any art invent characterised by vigorous, restless or violent movement. The baroque is also about excess. By applying the filmic style of neo-baroque to Léon, it becomes easier to literary writing style severalise it. Besson is well known for croak musical styles to pay backher to make films that are hybrid- literary genres, an example of this is Sub sort, which is a melodrama, a musical and a thriller. Léon is a melodrama, thriller hybrid. In terms of neo-baroque, it combines sporting drama in the form of melodrama and excessive military force in the form of its central theme and characters embodiment of frenzy. Its reasons for creation a melodrama, thriller hybrid are or so more complex. T. Sobchack defines genre films as thus: The genre film is a structure that embodies the conceit of form and the strict regard to form that is opposed to experimentation, novelty, or tampering with the given collection of things. The genre film, like all classical art, is basically conservative, both(prenominal) aesthetically and politically By applying Sobchacks definition of genre to Léon it is pass that Léon is not a specific genre film and thus not any specific genre; it is like all Besson films, a premix of genres, because Bessons films are notoriously stylised, which prevents them from being conservative. Léon is a melodrama / thriller hybrid. It cigarette be identified as this through analysis of eyepatch and iconography. If we attempt to define genre in Léon by style of iconography it is make difficult, because of the course in which in that location is so little. A realm of the iconography that is square is the use of talks. in that location is very little confabulation; according to T. Grodal, shortness of dialogue is a common attribute in Melodramas: incision Brooks (1985) has characterised melodrama by the term quiet, which indicates that an interior life which cannot be fully verbalised is explicit through excess, stylisation, and move Melodrama show excess through emotion, (as mentioned early Besson specialises in the use of excess) bodily excess is shown through woefulness (Sobs, tears). The audience is presumed to be passive women. Melodramas are oftentimes associated with women because of their sexuality and sex-linked pathos, and their nude dis rounds of emotion. Susan Hayward refers to melodrama as being: near generational and sexual practice contradict and crush appetency, all of which belong compete out in the claustrophobic environs of the internal playing area Family melodramas show the potential contravene within the family surroundings of the anthropoid (embodying corking production) and the womanly (embodying reproduction). The genre attempts to gain understanding of the family and the supremacy of women and the curtailment of her desire. However, because the potent no extended finds himself in the environment of production, but in the home, which is the females site of stifled desire and reproduction, he feels jeopardize and this presents the potential for appointment. A agree is needed or conflict and violence will reign, the male has to feminise and attend to on terms that are get hold of within the home, charm the female must(prenominal) repress sexual desire. As a result, in stage to protect the family desire is oppress: sexual desire for the female, period the male fears castration through his forbearance to feminisation. Thrillers unless, are a masculine dominated genre that play with the concepts of paranoia and unlike melodramas they arent based so frequently in the national sphere, but in the city streets. Léon except has a strong absence seizure of family within it (Mathildas family is aloof at the beginning of the film). at that place is no continuum of a national environment; much of the mise en scene of the film takes place on the streets of New York and in various apartments, except at the beginning of the film, in the scenes with Mathildas family. In the scenes we are shown of Mathildas family, we see that they are a impaired family and that conflicts and clashes are a constant. This is because no compromise has been make amid the male and female, thus repressed violence and desire are unleashed. The repressed violence and desire takes the shape of Mathilda witnessing her parents having sex. The witnessing of sex amongst parents by a small fry is to witness sex as a form of violence used by the overreach upon the mother. The display of sex is a metaphor for the don outrage conflicts through violence. Mathilda feels alienated from her family and displaces her feelings of disaffection in both main representations. The first is by good turn her alienation in on herself and causing self-harm, she smokes (physically hurting herself) and truants from school, which of necessity results in the head caustic phoning the home to find out why she has absconded from school. Mathilda then announces her termination over the phone, which is a verbalization of a wish fulfilment. The support displacement of her alienation is through substitution, she becomes the surrogate mother to her companion, this is her way of attempting to cover gaps in the disfunction around her. Mathilda can neer be her brothers mother and is ill-omened to fail, this is because the space of mother is not rightfully hers (and she does fail her brother dies). As I mentioned earlier, the family inescapably to repress desire and violence in ramble to survive, and because Mathildas family has not reached a compromise, the family is washed-up in an explosion of violence provoked by Mathildas mystify. The brutal devastation of Mathildas son results in her claim to family being removed, because her role as mother has been taken away, Mathilda reacts in two ways. Firstly she seeks retaliate for her loss, and secondly she suffers a astonishment of her ideologies and her gender role. Signs of her confusion of gender role take the form of her view of Léon, to Mathilda Léon becomes the find she never had, the brother she lost and the yellowish brown she desires. To Léon, Mathilda becomes his daughter, mother and immaculate raw sienna.
Mathildas role hitherto is contradictory, because she occupies both sides of the gender divide. As daughter to Léon she obeys him in his teachings and accepts his disciplines. However, she orders him to teach her and has the means and capital to pay and to quash him in the same way that Tony (Léons maffia boss does), this capital and cogency to command Léon is typically a male trait. Mathilda is restored to a position of fair sex by adopting a position of mother to Léon, she nurtures him (She buys him, supplies him with milk) and teaches him to transubstantiate and write (Léons illiteracy infantises him). When Mathilda considers herself ready, she attempts to kill Stansfield, yet she fails through inexperience and is held captive. Léon is restored to being her pay off figure, by first of all nurture a note she has rest for him (Making him no longer infantile) and then by actually rescuing her and putting to death her captives. Léon is manager to Mathilda in three ways, firstly by being her substitution brother, in doing so Mathilda misrecognises him as the heading of her desire. flashly through psychodynamics and the Oedipus complex, by loving him as a substitute fetch she is misrecognising her father as the endeavor of her desire and caught doubly desiring him. Besson intended for Mathilda and Léon to be chaste lovers in a pure sense, Léon actually being xii years old (This being shown through his need for nurturing, his boorish child like rig sense, illiteracy, he is simple minded, naïve, lacks a strong cop of language and he is asexual). By making Léon a twelve-year-old within a forty-year-old body, Besson thought justified the love relationship between Léon and Mathilda: I chose to yack up about two twelve-year-olds, even though one is actually 40 Léon does not take up his place as lover until it is to late, since the social order of things does not allow for Léon and Mathilda to be lovers, he must be penalize and thus dies, he sacrifices his visible body for the love they cannot have. The very etymology of melodrama is drama plus music. end-to-end Léon on that point are references and the front end of music. in that respect is the constant melancholic presence of Eric Serras music score, at one point in the film Mathilda pretends she is learning the violin and that Léon as well as being her father is a music conductor. Stansfield has an obsession with van Beethoven, when he murders Mathildas family he tells her father he did it in a style reflecting that of Beethovens music. Because of the constant threat of conflict between the forces of production and reproduction, in that location is a sense of paranoia in melodramas. This sense of paranoia is ever present in the thriller. The thriller aspect of Léon, not only relates to melodrama through paranoia, but also acts as a means of escape from the home of the melodrama to the streets of the thriller. Léon and Mathilda spend a corking deal of time extraneous of the home, especially afterward the death of Mathildas family. The thriller also embeds a strong sense of tension into the atmosphere of Léon. Léon stands as one of the best examples of a conspiracy of Bessons ideologies; these ideologies and the singularity of them to Besson, not only influence the theme and story of Léon, but as this essay reveals, the style and genre of the film too. Bibliography: Books: 1. Caughie, J., Auterism: entry, in Caughie, J. Ed. Theories of Authorship (Routledge: London, 1981) pp 9 16. 2. Hayward, S., Luc Besson, (Manchester: Manchester university press, 1998). 3. Grodal, T., Moving Pictures: A refreshed theory of film genres, feelings and experience (Oxford: Claredon Press) page 259 4. Sobchack, T., literary genre learn: A uncorrupted experience, in Grant, B K. Eds. photograph writing style lecturer 2 (Austin: University of Texas press 1997) pp 106 107 5. Carroll, N., The lesson ecology of Melodrama, Interpreting the moving image (Cambridge: Cambridge University press) pp 166 178 6. Hayward, S., Directors and Stars: Luc Besson, in Hill, J. and church G, H. Eds. The Oxford absorb to Film Studies (Oxford: Oxford University press, 1998) pp 494 496 7. Branston, G. and Stafford, R., Making Films outside the Mainstream, The Media Students Book, Second Edition (London: Routledge) pp372 377 8. Leach, J., North of Pittsburgh: Genre and National movie field of operation from a Canadian positioning, in Grant, B K. Eds. Film Genre Reader 2 (Austin: University of Texas press, 1997) pp 487 488 9. Austin, G., Contemporary French socializing (Manchester: Manchester University press). Film sources: 10. Léon, Gaumont / les films du dauphin, 1994, Luc Besson 11. Nikita, les films du loup / Gaumont / Gaumont production / Cecchi Gori Group / Tiger Cinematografica, 1990, Luc Besson clams profit sources: 12. Characters and Themes in Luc Bessons Subway, The Big good-for-nothing, Nikita and Leon, hypertext transfer protocol://www.geocities.com/stuartfernie/besson.htm, 20 / 11 / 02 13. Léon (1994) (aka the professional), http://www.film.u-net.com/movies.reviews/Leon.html, 10 / 11 / 02 14. Neo-baroque?, http://www.transference.org.uk/neo-baroque.htm, 21 / 11 / 02 If you want to get a full essay, order it on our website:
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