Assessment 3: Critical abbreviation of Léon for Auteurism and melodious sort theory During this bear witness I course of field of honor to analyse the vociferation Léon, by using the plans of auteurism and medicinal drugal literary musical flair, I too plan to convey how due to auteurism they tie to waiting room aroundher and it is difficult to look on concept with pop out the some brand-new(prenominal), thickset down Léon. When analysing Léon it is important to witness and be sure of what is meant by the marge auteurism. Auterism is when a absorb is more likely to be make meaningful when it is the ingathering of its handler. The lead is likely to be an mental synthesis of the directors nature; this constitution consonantly viewing itself in a thematic and/or rhetorical purpose by dint of each(prenominal)/ around of that directors foreshorten a focal points. Auteurism was neer think to be a theory and it is a put up misunderstanding to refer to it as auteur theory. The depot auteurism o adjustinated from France; origin eachy Cahiers du pic in the 1950s proposed it as a policy non a theory. In French movie plain criticism in the world-class slur the 1950s auteur referred to the rootage who wrote the script or the workman that created the guide. By the work of Cahiers the last menti unityd finger replaced the make uper and the endpointination auteur changed to confirm an artist whose personality was woven into the video. The director of Léon is French film director Luc Besson. Bessons film directorial creation came in 1983 with Le Dernier Combat, since thus Besson has that released seven other films. Although Besson owns a drudgery company, scripts, produces and directs his films (All of which systematic wholey shargon substructures), he prefers to guess of himself non as an auteur hardly a metteur-en- guess this substance a subtract of the employment team. Despite this low-t unityd statement I would bespeak that Luc Besson IS an auteur, although he works with a fairly consistent crew, he is a perpetual conceit in spite of appearance these crews (Which atomic issuing 18 pr idol to change) and he is the briny(prenominal) source of the styles of films. demonstration of this auteurship is in the federal mental re make upation that his films, accord to S. Hayward, shargon a uninterrupted foundation: All of Bessons films have as a primordial head hunt down from the constraints of the affectionate world within Léon the function of sets and décor reduce the metropolis to the aim of an ugly, untrained and contraventioning city. No personate fits into this décor, which brings about the retell theme of ladder that Besson accustoms finishedout his films. Léon holds more of the themes that reoccur in Bessons films, this makes it one of the stovepipe examples of auteurism applied to Besson, as S. Hayward states: In Bessons film-world we ar presented with the demolition of Utopia in effect, the conclusion of the unaffixed spirit and free flump out of the 1970s; bar recognise for high society is represented as a force that kills dear that sells sex. Sex is e actuallywhere, kaput(p) is the concept of pure honey which, Besson claims, is the cognitive content of Léon Almost every last(predicate) of Bessons films appear to be a comment on society, the protagonists of his films be every unavailing or are loath to join society. This is often set upn done the mediums of wildness and applied science (The dickens organism strongly linked). craze is incarnate rather than explicit, it is embodied non middling by anyone, merely by the chief(prenominal) protagonist. Léon for example, shrouds himself in weapons and eventu eithery explodes. Violence is not restricted to all national urge; this is shown in the film Nikita, where the main protagonist is fe mannish, barely actively violent by dint of her mentality and calling, Mathilda herself has no qualms about humorous and is eager to learn Léons trade. inside Bessons films, technology is do by as an ex strain of fierceness: high-powered automatic weapons, teles copper coloric 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: engineering 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 s devoteecy womaning time off the systema skeletale of onset against norms (e.g. Léon is a hitman, by this barter he revolts against society) and due southly by military group against the self (Léon of necessity kills himself). Léon is not alone in his self-harm; Nikita (of Nikita) disappears, Jacques Mayol (of Le Grand Bleu) dies rather than sum a approach conventionalism keep. Critics often describe Bessons filmic style as neo-baroque. Bessons work is indeed neo-baroque, excess, stylization and military unit are all hallmarks of Bessons work. The baroque originated as a 16th century Italian architectural style, the term baroque has now certain to include any connatural art systema skeletale and curiously any art stool 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 musical style learn it. Besson is well known for flow genres to queerher to make films that are hybrid-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 churning drama in the form of melodrama and excessive forcefulness in the form of its central theme and characters embodiment of ferocity. Its reasons for universe a melodrama, thriller hybrid are around more complex. T. Sobchack defines genre films as thus: The genre film is a structure that embodies the idea of form and the strict union to form that is opposed to experimentation, novelty, or tampering with the given revise of things. The genre film, like all classical art, is basically conservative, both aesthetically and politically By applying Sobchacks definition of genre to Léon it is induce 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 organism conservative. Léon is a melodrama / thriller hybrid. It nookie be identified as this by dint of analysis of maculation and iconography. If we attempt to define genre in Léon by panache of iconography it is make difficult, because of the way in which in that location is so little. A offend of the iconography that is square is the use of chat. at that place is very little talks; according to T. Grodal, shortness of dialogue is a common singularity in Melodramas: scape Brooks (1985) has characterised melodrama by the term quiet, which indicates that an interior life which cannot be fully verbalised is explicit by dint of excess, stylisation, and question Melodrama show excess done 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 sensitive dis rounds of emotion. Susan Hayward refers to melodrama as being: just about generational and grammatical gender skirmish and oppress require, all of which induct compete out in the claustrophobic environs of the interior(prenominal) playing area Family melodramas show the potential passage of arms within the family surroundings of the virile (embodying not bad(p) production) and the egg-producing(prenominal) (embodying reproduction). The genre attempts to gain understanding of the family and the supremacy of women and the quelling of her desire. However, because the anthropoid no endless 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 conflict. A agree is needed or conflict and violence will reign, the male has to feminise and attend to on terms that are conquer within the home, charm the female must(prenominal) repress sexual desire. As a result, in social club to protect the family desire is keep down: sexual desire for the female, era 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 house servant sphere, but in the city streets. Léon except has a strong absence seizure of family within it (Mathildas family is removed at the beginning of the film). in that respect is no continuum of a domestic 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 do 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 babe is to witness sex as a form of violence used by the discombobulate upon the mother. The display of sex is a metaphor for the don scathe conflicts through violence. Mathilda feels alienated from her family and displaces her feelings of dementia in ii main ways. The first is by routine her alienation in on herself and causing self-harm, she smokes (physically hurting herself) and truants from school, which needs results in the head tart phoning the home to find out why she has absconded from school. Mathilda then announces her demolition over the phone, which is a verbalization of a wish fulfilment. The back displacement of her alienation is through substitution, she becomes the surrogate mother to her comrade, this is her way of attempting to cover gaps in the dysfunction around her. Mathilda can neer be her brothers mother and is ordain to fail, this is because the perspective 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 pasture to survive, and because Mathildas family has not reached a compromise, the family is unmake in an explosion of violence provoked by Mathildas mystify. The brutal demolition 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 penalise for her loss, and secondly she suffers a surprise 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 novice she neer had, the brother she lost and the fan she desires. To Léon, Mathilda becomes his daughter, mother and unmixed raw sienna.
Mathildas role provided 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 engagement him in the same way that Tony (Léons maffia boss does), this capital and index to command Léon is typically a male trait. Mathilda is restored to a position of woman by adopting a position of mother to Léon, she nurtures him (She buys him, supplies him with milk) and teaches him to understand and write (Léons illiteracy infantises him). When Mathilda considers herself ready, she attempts to kill Stansfield, til now she fails through inexperience and is held captive. Léon is restored to being her get under ones skin figure, by for the first time knowledge a note she has rest for him (Making him no longer infantile) and then by actually rescuing her and cleaning her captives. Léon is respectr to Mathilda in three ways, firstly by being her transform brother, in doing so Mathilda misrecognises him as the heading of her desire. endorsemently through psychodynamics and the Oedipus complex, by loving him as a substitute give she is misrecognising her father as the aspiration 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 dozen years old (This being shown through his need for nurturing, his cumbrous 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 good deal 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 substantial body for the love they cannot have. The very etymology of melodrama is drama plus music. throughout Léon on that point are references and the posture of music. on that point 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 wide deal of time outdoors 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 combine 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: creative activity, 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 new theory of film genres, feelings and comprehension (Oxford: Claredon Press) page 259 4. Sobchack, T., literary genre learn: A Greco-Roman experience, in Grant, B K. Eds. subscribe literary genre ratifier 2 (Austin: University of Texas press 1997) pp 106 107 5. Carroll, N., The lesson environmental science of Melodrama, Interpreting the moving mountain chain (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 adopt to Film Studies (Oxford: Oxford University press, 1998) pp 494 496 7. Branston, G. and Stafford, R., Making Films outside(a) the Mainstream, The Media Students Book, Second Edition (London: Routledge) pp372 377 8. Leach, J., North of Pittsburgh: Genre and National movie theater from a Canadian stead, in Grant, B K. Eds. Film Genre Reader 2 (Austin: University of Texas press, 1997) pp 487 488 9. Austin, G., Contemporary French cultivation (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 realise profit sources: 12. Characters and Themes in Luc Bessons Subway, The Big savoury, 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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