Notes on Wes Anderson

Orgeron, D. 2007. “La Camera-Crayola: Authorship Comes of Age in the Cinema of

Wes Anderson.” Cinema Journal Winter 46 (2): 40–65.

Notes:

Auterism nowadays

Anderson populates his stories with auteurs (e.g. creators of plans and schemes)

Andersons use of DVD technology: fan culture – bonus material – relationship with author

Self-aware authorial image

Myth of the solitary genius

Masculinity and adolescence

Literary references

Reflexive: films about writing

Auteur figure now: no longer the lone figure = The New Auteur

Anderson and self-advertisement

Keywords:

Wilkins, K. (2018) Assembled Worlds: Intertextuality and Sincerity in the Films of

Wes Anderson

Notes:

Anderson and hipster culture

Loss and grief themes

Film worlds – artificial constructions

Anderson’s film worlds reference their own artifice

Contained worlds – box – framing devices

New sincerity

Anderson’s troubled/ironic characters

The Grand Budapest – The Box as Structure – Matryoshka-esque

Increased stylization
 Reference to world war II

Stephan sweig

Approaching ‘big’ themes (loss, death) indirectly, in a contained way

Transitional spaces (e.g. hotel)

Keywords:

Anachronism

Reflexivity

Artifice

Andersonian

Matryoshka-esque

Lee, S. (2016) Wes Anderson’s ambivalent film style: the relation between mise-en-
scène and emotion

Notes:

Anderson’s mise-en-scene

Auteur characteristics and how Anderson meets them

Andersons ambivalence. E.g. superposition of comedy and tragedy

Distance and attention: alienation effect vs attention to characters emotions

Keywords: