Affecting the audience through motion pictures: The cinematography of 'Amores Perros'
Seminar paper from the year 2009 in the subject Film Science, grade: 1,7, University of London, course: Latin American Cinema, language: English, abstract: Amores Perros (2000) is the first feature film of Mexican Filmmaker Alejandro González Iñárritu. Released in 2000 at the Cannes Film Festival, the movie won the Prize of the Critic's Week at Cannes. It was the first Mexican film after 25 years that entered an Oscar competition. By referring to specialist magazine Cine XS (Flores-Durán and Pedroza, 2000) Paul Julian Smith explains that ‘Amores Perros is representative of a ‘new trend’ in Mexican cinema’ (Smith, 2003, p. 25). The film not only won a lot of prizes at international film festivals, it was also very successful at the box offices. It earned $ 10 million in Mexico, $ 5 million in the US and $20 million worldwide (Smith, 2003, p. 13). ‘The critical and commercial success of González Iñárritu’s film comes at a time when the Mexican film industry appears to be going through its worst period since the early 1930s’ (D’Lugo, 2003, p. 221). But what makes this film so successful? The brilliant narration, the strong soundtrack, the outstanding cinematography and special marketing strategies could be factors for its success. The cinematic and editing techniques used in this movie are very different from films of former Latin American filmmakers. In this essay, I would like to concentrate on the cinematography of Amores Perros and analyse how it creates meaning and supports the story and the characters. I will start with general information about the movie and sum up the plot very briefly. After that, I will begin the analysis of the cinematography and give some background information about the production. Firstly, I want to give some general information about the specific cinematographic techniques used in Amores Perros and then I would like to analyse several sequences more properly. The opening sequence will be analysed accurately, then I concentrate on several key-scenes.
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Affecting the audience Alejandro González Iñárritu Amores Perros 2001 audience through motion bleeding dog camera follows camera is shaking camera movement camera moves camera takes camerawork car accident car hitting car race character’s characters Chivo and Maru Chivo starts Chivo’s emotions Chivo’s point cinematography of Amores close shot close-up colours D’Lugo dog Cofi dog fighting location DVD version El Chivo establishing shot eye-level fast driving car film stock foreground front window German National Library grey car GRIN hand-held camera inside the car Jarocho last dogfight long shot medium shot Mexico City Model Valeria movie Octavio and Susana Octavio’s car Octavio’s dog Octavio’s face Octavio’s point opening sequence Oppenheimer photography Rodrigo Prieto point of view Ramiro and Susana Richie Screenshot taken shot of Susana shots are changing Smith soundbridge spying story of Octavio trough the back trough the front Valeria and Daniel version of Amores what’s going who’s www.GRIN.com yellow truck