Managers assess the degree of uncertainty in the external environment by examining two dimensions. A) Draw the environmental uncertainty matrix developed by Robert Duncan using example for each cell. B) Why might this be a helpful tool for managers? C) in this climate of ever increasing uncertainty , is this still a relevant.
audience to experience. As previously mentioned, the mise en scene of Amélie seems to be a product of Amélie’s imagination; this means that the film becomes somewhat hyper-realistic. Baudrillard’s theory of “Hyperreality” (1994) describes when a film blends both reality and fantasy together so seamlessly that it is hard to tell what is real and what is not. I think that this is an essential theory to consider when understanding Amélie, as some parts of the film which might be taken literally, may perhaps be figments of her imagination. However, many aspects of the film show very obvious uses of CGI, such as the imaginary crocodile that Amélie plays with as a child. There are many comical moments in the film, for instance Amélie quite literally breaking down into tears after not plucking up the courage to speak to Nino. There are also more serious uses of special effects, which are very noticeable, yet more subtle, for example Amélie’s daydream of Nino sneaking up behind her in the kitchen. This sequence uses a split screen which resembles a thought bubble, showing Nino approaching Amélie’s back whilst larger section of the frame shows Amélie’s reactions from the front view. The use of these techniques, especially the animation, contribute to the film’s novelty factor, surprising and exciting the audience. If his use of CGI tells us anything about Jeunet’s auteur style, it is that he is not concerned with absolute realism. He enjoys the artifice of film and extends it as far as he can, integrating the fanciful with the actual while avoiding “cheesiness”. Equally important in creating Jeunet’s uncompromised auteuristic style is the wide range of shots, angles, and editing techniques. Vanderschelden (2007) notes that many of the camera techniques used throughout the film are “playful…reinforcing the light-hearted, cartoon-like tone”. I agree strongly with this statement, as the film is rich with interesting and unusual camera angles and pans, which perfectly reflect the characters portrayed. Montage sequences are liberally used in Amélie, and are a key element to the style of the film. The whole opening of the film appears to be montage, the very fast paced shots of Amélie’s childhood, from conception, to birth, to being five years old, to being fully grown up. According to Eisenstein’s Montage theory, the juxtaposition of opposites or similarities allows the filmmaker to shape the mind and emotions of the viewer. I feel that Jeunet chose to show Amélie growing up at such a roaring pace, juxtaposing her childhood years and adult years, to show the audience how much she has changed and how much she has stayed the same. This device not only adds a “quirky humour” to the film, but it also introduces the fast paced and frantic tone of the film, allowing the viewer to gain a lot of ‘pointless’ information in a very short amount of time.>GET ANSWER