Filmowe asamblaże. Analiza stylu wizualnego Wesa Andersona
AbstractWithin the last 15 years,Wes Anderson has become one of the most recognizable American directors. From his debut Bottle Rocket to his last movie Isle of Dogs, he has built a specific world full of quirky characters, fancy items, all engulfed in a particularly idiosyncratic visual style. The article tries to point out that the dominance of Anderson’s cinema is precisely his visual style and creation of a cinematic space. The visual perspective seems to be the most suitable and, at the same time, prolific to analyse his filmography. The article investigates Anderson’s way of building mise-en-scène. How does he use symmetrical frames, closed composition, or scenographic elements, what is the point of all this hassle? However, the most essential angle is strictly connected to production studies – creating space in pre-production (break-downs, storyboards, location hunting), which defines the style of Anderson. The article traces differences between production and design in his feature films and the animated Fantastic Mr Fox and Isle of Dogs. Seeking hyper realistic locations, spending most of the budget on authentic World War II ships or simply adapting interiors – those cases will help to dwell in the cinematic mind of the American director. Finally, the paper tries to prove that analysing the production side can tell us a huge amount about Anderson’s visual style and world-building.
|Other language title versions||Cinematic assemblages. Analysis of the visual style of Wes Anderson|
|Journal series||Panoptikum, ISSN 1730-7775, (B 7 pkt)|
|Publication size in sheets||0.8|
|Keywords in English||Wes Anderson, visual style|
|License||Other; published final; ; with publication|
|Score|| = 7.0, ArticleFromJournal|
= 7.0, ArticleFromJournal
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