extraordinary number of shots in the film-over 300 in the prologue alone-each shot must make an instant impression. The power of the edited image to make this impression is enhanced by the soundtrack. The soundtrack emphasises the beginning and end of each shot, with almost every scene, and many individual moments, concluding with audible finality.

Jeunet also uses close-ups to mark the end of sequences: “Looping crane shots, rapid zooms, and dizzying montage passages give way to several seconds of Tautou, absolutely still, staring directly into the camera, an object of our lingering gaze.”As with every other aspect of the film, Tautou’s face does not escape Jeunet’s aesthetic edits, serving the superficial narrative as much as-if not more than-the fantastical Paris. As a shot, close-ups, in the terms of Eisenstein, are both individuals and collectives. In presenting Amelie through close-ups, she is presented as an icon, both an “imagined friend and an inaccessible ideal”. The combination of proximity and distance that enables the success of a media icon is an ideal employed by Jeunet. Like a media icon, Amélie provides the audience with traces of reality: opportunities for autonomy, references to past-cinema, while simultaneously isolating the world of the movie through the heavily stylised aesthetics and edited visuals.