The films of Wes Anderson are full of art, so I separated art in his films in two dimensions; in surface and profound level. From the first summary, I’m pretty sure that most of his audience, including me, falls in love with his movies from the surface dimension; visual elements such as color, costume, their familiar characters, or symmetrical shots. It’s not an exaggeration to call Anderson’s movies as a new universe. I still remembered the first time I watched his movie, Moonrise Kingdom, I felt that some of my perspectives have changed since that time. The strange colors and conversation remind me a complex painting or sculpture. I think people would impress at the visual in his film because it makes them escape from the reality and release from stress. Moreover, using the same characters causes a result as meeting your own family or friend because you have an attachment with them. Even though they change their personality or hairstyle, you still have that feeling. Most of his films have influences from literature (which we can see the details in summary two) such as Roald Dalh and if you read Roald Dalh’s books such as The Witches or Charlie and the Chocolate Factory, you won’t deny that they are more than the normal children's fiction. Wes Anderson creates films by mixing the value of literature into his films. …show more content…
The narrative style makes the audiences be like readers and if you were a reader, you could imagine as much as you want and you would drop out the feeling like “it’s not true.” It seems to me that if you like the literature, you will love Anderson’s
In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.
The author and director have used characteristics to connect with the audience by using relatable situations like school problems like bullying; teacher’s having favourites and friendship problems. As well as the main characters Jasper
Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to establish tone mood, and imagery in the films.
Statement of intent: This formal report was written with the intent of discussing the mise-en-scene element of film which is used in two of Wes Anderson’s most popular films. Both films The Grand Budapest Hotel (2014) and Moonrise Kingdom (2012) showcase the limited colour palette and costume aspects of mise-en-scene.
Chris Marker’s Sans Soleil is a free-form style travel diary told through the letters of a fictional cameraman Sandor Krasna. A woman, Alexandra Stewart, who remains unseen throughout the entire film, reads these letters. The film explores themes of time, memory, and history. In the essay “In Search of the Centaur: The Essay Film” author Phillip Lopate defines five characteristics he believes a film must have in order to be considered an essay film (245-7). It can be argued that Chris Marker’s Sans Soleil is an essay film based on most if not all of Lopate’s defining characteristics.
Anderson builds all of his worlds from the ground up. Each one is a microcosm: a miniature version of humanity. Freelance film critic Calum Marsh once said that “people tend to talk about Wes Anderson movies as if they were toys — dioramas, playsets, miniatures. They do have a certain handmade quality, in the way they've been assembled and furnished, but it's more than that. I think it has something do with the way their component parts and pieces seem so meticulously and painstakingly put together, organized, and orchestrated as if by a very dedicated child.” (Marsh). Anderson p...
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
Describe some ways in which business values and artistic values in Hollywood contend with one another.
One strand of auteur theory, as Graeme Turner explains, concerns the identification of a director's visual style (Turner 44). When it comes to talking about visual styles of Asian directors, particularly in the context of Hong Kong cinema, one name that immediately comes to mind would be none other than Wong Kar-wai. Any Asian film student would probably be familiar with his signature works. Wong Kar-wai has been considered as "the very latest auteur produced by the second wave" in Hong Kong cinema (Teo 193). His passion for stylistic filmmaking and pursuit of film artistry gave him the recognition as a Hong Kong auteur. His auteur status arose from the distinctive visual style and individualistic visions evident in his films. Apart from directing, Wong Kar-wai also writes the screenplays for his own films. That gives him almost complete control over the entire film production and reinforces his authorship. He is famous for shooting without scripts, improvising the narrative as he shoots the films. With all his films being labelled as independent art-house and in contrast to the many commercial Hong Kong products, Wong Kar-wai stands apart from other directors (Stokes 186). In this essay, I will examine and discuss how academic film critics and scholars such as Stephen Teo, David Bordwell and others have talked about his visual style, in relation to one of his many award-winning films, Chungking Express (1994).
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
SENTENCE 1: I will start this section by introducing who Tarantino actually is, I will provide a brief overview of his childhood (Biography.com Editors,“Quentin Tarantino Biography”), state some of his awards and successes (“Quentin Tarantino Biography”) and mention some of his most well known films such as Reservoir Dogs (1992), Pulp Fiction (1994), and Django Unchained (2012). SENTENCE 2: I will bring to light that there are undoubtedly similar motifs and stylistic tendencies throughout these films that make it recognisable as a Tarantino production and with that I will bring up, Thomson-Jones, “Aesthetics and film” (2008) where she examines the standards of how one can be established as being called an “auteur” of something, or in this
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.
It is impossible to talk about a Wes Anderson movie without acknowledging its stunning color palettes and quirky storytelling style. In one of his most exemplary works, Moonrise Kingdom, Anderson uses a warm color scheme that blends bright and desaturated colors that ranges from golden yellow, vermillion red, creamy beige, light brown, to even a hint of teal. His color scheme, which is reflected throughout the film’s props, sets, costumes, title design, and camera filters, effectively evokes nostalgia, establishes the summer-like, dreamy mood of the film, and creates a distinct contrast between the different moral values of his characters. However, in the chaotic stormy escape scene and in the costume of Social Services, the visual design deviates greatly from the film’s primarily warm color palette and instead, immerse their visual elements in a deep, dark blue color to show the contrasts in the mood of the story as well as the attitudes of the characters. Overall, Anderson’s visual
Exhibited in The Moon and Sixpence by Somerset Maugham, Expressionism differed greatly from its predecessor, Impressionism. Unlike Impressionism, Expressionism’s “goals were not to reproduce the impression suggested by the surrounding world, but to strongly impose the artist's own sensibility to the world's representation” (Web museum 1). In Expressionism, “the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse in him” (Web museum 1). Using variety of violent colors and exaggerated lines to express their intense emotions, the expressionists painted the world in a new way.