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本篇paper代写- The aesthetic style of francois auzen's films讨论了弗朗索瓦·奥宗的电影美学风格。弗朗索瓦·奥宗的电影美学风格有多次转型，近年来，他更加注重于结合不同的类型电影特点进行自己的作者化私人表达，而唯一不变的是他执著于探究中产阶级平和生活下的暗潮汹涌进而探讨人性与生命。在一些人的笔下，奥宗被划分在psycho-sexual thriller这一类型中。篇paper代写由51due代写平台整理，供大家参考阅读。

Francois auzen's film aesthetic has undergone many transformations, and the queer elements have been gradually hidden. But what remains unchanged is his obsession with exploring the dark tides of the peaceful life of the middle class and discussing human nature and life. In recent years, aozong has paid more attention to combining the characteristics of different types of films to make his own personal expression. In the hands of some, ozon is classified as a psycho-sexual thriller. However, the author thinks that this can not be considered as a kind of genre, but more as a theme selection and style feature in aozong films.

The aesthetic characteristics revealed in the period of his most free short film creation are also continued in the future long film. In "all in the family," for example, where he photographed a family of four in an enclosed setting, with daily trivia, bed-to-bed relationships and emotional disputes, Mr. Ozong himself questioned the semblance of calm. Gratuitous killing -- the desire to commit a crime, the camera to take a picture -- freezing the moment and magnifying it, recombining it, morphing it, and staring at it -- these elements are typical of auzen's recurring themes. Later in the long film, aozong constantly adjusts the genre tradition and his own authoring expression to achieve a balance.

Dry fire is auzon's third feature film, adapted from the text written by fassbender, who incorporated Hollywood melodrama into his script, while insisting on alienation to achieve success. And the adaptation of ozon can not help but draw attention to the influence of fassbender on ozon and the role of genre in authorizing film production.

Before "kindling," Mr. Ozon's two feature films, "the lost family" and "provocative murder," had genre characteristics of sitcoms and thrillers, as the title suggests. However, in dry fire, his reference and application of the film genre entered a new field. Ozen is based on the original text written by fassbender, who is an admirer of Hollywood director Douglas seck. Auchan directed this melodrama film, which directly collided with the whole history of film genre. Rather than merely imitating his two previous feature films, Mr. Ozon emphasizes the continuity between different film cultures.

Back in the 1950s, when Mr. Seck was working at universal studios, there was more focus on masculinity and heroism. Later Laura Laura mulvey melodrama of plug g research points out an important characteristic of melodrama: "home, as a society place and space of myth", "to draw attention to provide internal and external confrontation with the order on the way, and for the urban, industrial, centrifugal/centrifugal force of capitalist living examples. Images of places and Spaces may link the sexual politics of class and popular entertainment in a myriad of ways." "The spatial dimensions of male and female Spaces reflect the economic and social aspects of gender differences. Popular entertainment is increasingly absorbed and brought into a orderly national unity. But its roots lie on the margins of society."

Fassbender focused on seck, drawing on the opportunities offered to critics by modernist and feminist theories. He succeeded by changing the hypocritical nature of melodrama in Hollywood by borrowing its universal code. And Mr. Ozen's inheritance of fassbender's melodrama tradition isn't a Hollywood studio one, but one that combines distinctive characters with highly stylized scenes to create his own melodrama. By referring to the genre tradition of melodrama, aozong makes the audience aware of and start to analyze the genre elements in it and examine the genre tradition so as to achieve the purpose of deconstruction.

Melodrama has traditionally been used as an expression of political and social problems with no rational solutions, but aozong USES it more to discuss human nature. He puts the characters in an unnatural and dramatic setting, and makes the melodramatic technique more extreme, so that the characters perceive their marginalization and sexual crisis in this environment. He is not a plagiarism of style type, but a reference to its production ethics. For example, the room ACTS as an enclosed space to condense the emotions of the characters. The framework of "interior" provides the whole, stable, closed and self-contained imagination and illusion, while the essence is divided, out of control, out of bounds and lack, which endowing the film with ironic effect and dialectical tension. The transmission of plague in the family of the lost souls takes place in the house; The hero and heroine of "provocative murder" are imprisoned in a hunter's hut; Four people in a room of passion; Eight women are trapped in a villa and torn apart. The actress in "pool murder" is vacationing at her villa in France. In enter the house, this closed space is used to the extreme. In the film, it even directly states that "this room is the most private place". Here, the house is no longer a pure enclosed space, but a maze of emotions and desires.

There were many stereotypes associated with genre films, which are related to the history of studios creating similar films to cater to audiences and reduce the risk of production and investment. But in fact, genre films are not vulgar cultural products, but have multiple values and no unified ideology. A critic for the cases of type elements in the recent film fully, in fact, there is no this needs, whether it be a melodrama, or suspense and singing and dancing, shows the pain of visibility is extremely obvious, the audience can still understand the new conservative attitude toward family and sex dominated the world of the difficulty of different identity.

The word "queer" has always been around ozone, but in his recent films, the queer element has become more insidious. He himself once said, "I focused on the difficulties of intimate relationships, not whether the partner was a man or a woman, a man or a woman." Judith butler proposed the kamp concept of so-called role playing, and she analyzed gender identity and desire as an act of performance, rather than being essentially immutable. That said, gays and heterosexuals are deeply connected. "Queer theory states that heterosexuality itself is a state of diversity and variety, and that it shares a lot with other sexual orientations in terms of behavior, behavior, and desires," lee states. Mr Okjong's inquiry fits this view.

The argument that ozon's films have a diminished queer element, and that this is a necessary way to get into the mainstream, is misplaced. The essence of queerness is a wandering identity and a desire to flow. The queer element in ozon's film just takes a more general form. The queer element is by no means embodied in the representation of non-heterosexuality, and if a gay couple chooses to imitate the straight and obey the straight system, then the real queer person is dead. On the other hand, the invisibility of queer elements also reflects that more marginalized people have more voices, and the middle class figures are more diversified, which is no longer the composition of the middle class in the past. The invisibility of queer elements is a more mainstream manifestation of queer. In 2016, ozon returned to the public with Franz after a two-year hiatus. The original script was a Maurice Rostand play, which liu bieqian adapted into the film the one I killed in 1932, and aozong turned the male perspective into the female perspective to tell the story at his best.

In fact, there is an element of gaze in many of his films. The term "gaze" has been interpreted by many philosophers and has gradually become the theoretical source of postmodernism, feminism and post-colonialism. Laura mulvey argues that "the gaze of the decisive male projects his fantasies on images of women stereotyped according to his needs." In male-centered films, female images are often reduced to projection points of male desire. In many of his films, male gaze is absent. He mainly USES objective gaze to film female youth growth experience and life experience, to break the inherent imagination and shackle of female image in the male-dominated society, and to expose a cruel fact -- class and exploitation can enter the family. For example, esther in enter the house is a concrete manifestation of the breakdown of romantic nature by patriarchy.

Mr Ozon's work in recent years has tended to be more nuanced -- many family tragedies happen not in violent form, but more slowly and quietly corrode daily life. However, marginal figures and vulnerable groups in the mainstream vision will be more independent, and women in families will overcome their weaknesses to find themselves. In sexual relations, women take the initiative and weaken the traditional male image.

Gaze is stratified into the gaze of the subject, the visible object and the other. This hierarchy is applied to the extreme in "enter the house" -- Claude peeks at the Raphael family, gilman and his wife read Claude's novels, and what the audience sees is their peeping, the two identities of the subject and the visible object merge into one character. After Claude went to gilman's house, gilman became angry from embarrassment, which really satirized the old middle class like gilman who kept strict moral compliance on the surface but actually indulged in the lust of prying, but could not stand the gaze of others. This peculiarity of middle-class hypocrisy and vulnerability is particularly in keeping with Mr Ozon's taste.

But in Franz, this fierce power struggle of viewing perspective is weakened, and the familiar aozong, who is keen on expressing gender, sexual orientation and eroticism, turns to make a solemn and elegant film full of classical poetry. Typologically, the film seems more conventional than Mr Ozon's previous work, but it remains faithful to his ideas.

He told film reporter Trevor Johnston at the 2016 London film festival that he made the film because he saw different possibilities in the material. "From the beginning of the film, you don't know what the relationship between Franz and Adrian was. There's suspense... Having this ambiguity at the heart of things is also a way to distance yourself from liu bieqian's version." In the end, adrien takes his place in the German family in place of his dead son, which should have been a happy ending, but for a modern audience, the irony is that Anna knows the whole story and her parents are kept in the dark. Okun realized that the key was the female role. "I want to know more about Anna's reaction when she learned about the secret, how she treated her parents, how she mourned Franz, how she felt about Adrian and how she reacted when she finally had to go to France to find her future." This is a complement to liu bieqian rather than a simple remake. "And, of course, a film about women's liberation." From the beginning to the end, Mr. Okjong has an accurate grasp of his past styles and new genres to try.

For aozong, who is highly authoring, different types have their own merits. He will not limit his theme to a certain type of paradigm, nor will he give up trying to get through new types because of his past experience of creative types and audience's expectations. Blending different genres to create their own films, while leaving key information blank, allows the works to retain the complexity of continuing in the audience's mind, without providing clear solutions, leaving the space for interpretation to the audience. To keep sensitive to the world, this is the consistent attitude of aozong towards creation.

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