Eternal Sunshine of the Spotless Mind

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Topics: Film, Art, Film theory
Throughout the many genres of filming, D.W Griffiths’ (David Llewelyn Wark) film, Intolerance (1916) encouraged the beginning of a unique genre of filming; Art House. Art house film’s individuality of filming is targeted at a smaller market audience. Unlike Hollywood cinema, Art house uses a unique strategy of capturing the audience by crossing boundaries and making the basis of the storylines harder to predict, leaving the audience puzzled throughout, and usually after the film has ended. The tale of Joel and Clementine in the film Eternal Sunshine of the Spotless Mind shows the director Michael Gondry’s ability to withhold the events of a unique romance and shape it into a genre of Art house through its representations and languages.
Michael Gondry’s Eternal Sunshine of the Spotless Mind was released on March the 19th 2004 in North America with a production budget of $20 million and grossed over US $70 million worldwide. The title is taken from the poem Eloisa to Abelard by Alexander Pope, the story of a tragic love affair, where forgetfulness became the star's only comfort. The storyline basis begins with Joel suffering with a heavy break-up with Clementine, a dysfunctional free spirit who decides she wants to erase every memory of her and Joel together. When Joel learns this, he makes his way to the memory erasing company Lacuna Inc.® and has the procedure done on himself. As he undergoes the process, he realises he wants to keep his recollections of Clementine and subconsciously avoids the erasure of Clementine from his memory.
Typical Hollywood films are limited in their use of camera angles to suit the scene, genre, and storyline, whereas Art house films are unrestricted with plenty of variety of angles, shots, and scene layouts. Gondry filmed in a near-documentary style, giving a large range of camera angles. In the scene where Joel is under the table, in discussion of Joel and Michael Gondry, the table was set up to be heighted differently, and

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