Furthermore, in analyzing a film like Lily Chou-Chou, to avoid analysis of its formative structures (particularly its use of color) and focus full attention on its narrative devices is to miss the very aspect of why this film is oppositional. In analyzing a film like All About Lily Chou-Chou, a concept such as excess bears much weight in bringing to attention the formative elements that make a film such as this oppositional. As the title of her article implies, Thompson employs the work of two separate theorists (Stephen Heath and Roland Barthes, respectively) to form her argument around a concept known as excess.
In her article, “The Concept of Cinematic Excess,” Kristin Thompson forms a compelling argument towards an analysis of film that looks beyond arbitrary narrative devices. “Presumably, the only way excess can fail to affect meaning is if the viewer does not notice it.” “Excessive elements do not form relationships, beyond those of coexistence.”
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