Film Studies:
Examining Aspect Ratios, Framing, and Color in ’The Grand Budapest Hotel’
Wes Anderson’s 2014 film entitled, ‘The Grand Budapest Hotel’ features brilliant cinematography that invites the audience into a beautifully captured and skillfully framed story. The plot summary of the film is described as follows, “The Grand Budapest Hotels recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune -- all against the back-drop of a suddenly and dramatically changing Continent” (Fox Searchlight Pictures).
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According to Bordwell, Robert Yeoman (Cinematographer) and Wes Anderson viewed a lot of 1930s films for inspiration prior to filming. Yeoman stated the following in an interview with Bordwell, “We looked at those more to familiarize ourselves with the 1.33:1 aspect ratio, which Wes wanted to use for the 1930s sequences. This aspect ratio opens up some interesting compositional possibilities; we often gave people a lot more headroom than is customary. A two-shot tends to be a little wider than the same shot in anamorphic. It was a form I’d never used before on a movie, and it was a fun departure…” (Bordwell, 247). Another interesting point to bring up is that 1.33:1 and 4:3 are the exact same ratios. Huczek notes how creative Wes Anderson got when framing the shots, “In order to show a bigger number of people in the frame Wes usually groups them into layers. He also uses extra vertical space to utilize it in a creative way. The most interesting shot was the one when Edward Norton enters the frame through the hole in the floor when he discovers that prisoners are gone. The 4:3 frame and a low angle shot allow the director to show the soldiers standing behind him” (Huczek, par. 4). With a more square frame you lose your typical widescreen that most moviegoers are used to viewing. As stated above, this can be challenging for the film maker. …show more content…
Of course, it is important to note that color contributed largely to the framing as well. According to Huczek, “The two timeframes presented in the movie, the 60’s, and the 30’s are lit differently and the production design choices differ as well. For the 30’s, we have more reds/pinks color cast in the over image and a bit harsher light. For the 60’s part, the image looks warmer and tinted towards yellows and oranges” (Huczek, par. 2). The color can function as a commentary on the time period, as well as the shift from before and after the war. The color along with the aspect ratios can also suggest a commentary on war itself and the destruction and ruin it causes. As a viewer, you may notice how lifeless the hotel looks after the war. One of the reasons it was important to focus on the framing and the aspect ratios is because it truly makes the film is profound and beautiful like a work of literature. According to Haglund and Harris, “…the three-tiered presentation also reflects the multiple narrative ‘lenses’ through which the movie moves: from a finished book to the book’s author to the person who told the story to the author in the first place” (Haglund and Harris, par. 10).The storytelling is magnificent not just because it’s a great screenplay, but because of the attention to detail within each shot and frame in the film. The entire film was thoughtfully crafted and Wes
Take for example the in the movie Sunset Boulevard (1950); the Norma Desmond’s character (Gloria Swanson), was portrayed a very rich woman who starred in a lot of silent movies back in her adult life. Upon showing the inside view of her mansion, it was lacking the essence of opulence one would expect, due to the movie being in black-and-white; the descriptions of her wealth and possessions made by William Holden’s character (Joe Gills) in my perspective did not do as much justice as it would have been if it was screened in color. Even though, “traditional movies move with times” (Cavell 61), the same can be achieved in movies in color; take for example the movie secret garden (1949), this movie started off with gloomy and similar effect as the Sunset Boulevard (1950); however, at the end color was thrown in to lay emphasis on what the main idea of the movie was about the (garden). Gardens are expected to be beautiful and make one feel at ease; my observation between both movies is that one is dark and was meant to end that way in the mystery which it did, while the other started off pained and ended in joy because the garden technically coming to life in full
The image is brighter and sharper in the film. The contrast of the film really affects the mood. Since the contrast is so bright the viewer is bound to stay focused and aware because everything is so catchy and noticeable. Also, the exposure changes throughout the film. At the very beginning the film starts in black and white and changed to color as the story progressed. The filmmaker uses a lot of Long Takes, each shot of Dorothy meeting someone new is pretty lengthy.
Every piece of imagery, down to Norma Desmond’s clutching, claw-like hands is geared toward eliciting an ominous and menacing feel. In frame #4, a long shot gives a view into Norma’s mansion. Her multitudes of portraits litter the area, and despite the large size of the room an oppressive, low key lighting results in a close, claustrophobic atmosphere. The gothic style architecture and arching windows along with the cluttered interior convey a feeling of something that once was great but has fallen into disrepair. All this creates a perfect metaphor for Norma’s fading fame and career, which is the main purpose of the settings in film noirs. The dark themes and sinister storylines are mirrored with great attention to detail in the visual aspects of a film noir.
These are some of the most haunted locations in Alabama. Guests and staff at many of the hotels have reported sightings of ghostly apparitions or other peculiar happenings.
The Grand Budapest Hotel revolves around Europe of the 1930s and 1960s while it was in time of the war, through the adventures of The Grand Budapest Hotel's doorman Zero and the Hotel manager Gustave. The saga is linked to a burglar and a Renaissance painting, a great family's wealth war, and the sudden change of war in Europe. It reflects the vicissitudes of political history in Europe for half a century. This article will analyze The Grand Budapest Hotel from two aspects: artistic style and film theme.
Wes Andersons 2014 film The Grand Budapest Hotel is a comedic/dramatic adventure film, told through a sequence of stories within one narrative. Wes Anderson used a range of colours, symmetry and multiple framing devices in creating this unique and engaging movie which follows the adventures of M. Gustave, a hotel concierge at the famous Budapest hotel in the fictional country, Republic of Zubrowka and the lobby boy Zero who becomes his trusted friend. This essay will discuss the different components employed in the films cinematography and mise-en-scene, and how theses specific elements were used to visually portray the characters and the environment through the different parts of the film. Firstly looking at how Cinematography which is described
Originally, silent films used a 1.33 aspect ratio. This meant that every frame had negative space accounting for four perforations. The frame line was extremely thin, so this had to be changed to account for the soundtrack. In the 1920s, studios created a stripe next to one of the perforations for sound recordings. Meanwhile, the image was cut to 1.19, which made it appear taller. For audiences who were used to the previous films, the new size was disorienting. More importantly, exhibitors had problems using the new frame with their screens and projectors.
The Assimilation of Immigration within the Population Are immigrants accepted fairly in our society? The story “The Blue Hotel” written by Stephen Crane in 1898 provides an example of the treatment of foreigners in America, through the character of the Swede. The 1890’s consist of the beginning of the Age of Immigration in the United States of America. Irish, Jews, Chinese and many other ethnicities flowed into the United States through Ellis Island. As a result of this influx of people, the nativists of the US “sought to protect the world they had known” and thus formed “social institutions [which] kept the Irish, the Jews, and other immigrants out” (Sarna 9).
Anderson uses color to convey a sense of whimsy and to uplift the narrative; his color choices influence the reading of the film and add a lightness to the seriousness of situations. In one scene, Gustave and Zero are traveling by train as they cross a border they are stopped by Nazi soldiers. Because Zero is an immigrant, the soldiers wish to obtain him. But Gustave rejects this and both Gustave and Zero are attacked by the soldiers. The colors in this scene take away the intensity of World War II and the conflicts that ensued. Near the end of the film Anderson places a similar scene in black and white instead of color. This color change occurs when Gustave and Zero are again stopped by Nazis. However, they do not get away this time and Gustave is killed. Although audiences can feel the weight of this scene through the color change, the scene is heavier when placed against the World War II film Casablanca. Anderson’s use of black and white in this scene harkens back to the black and white war time movies of the 1940s. The Grand Budapest Hotel does not press any great emphasis on the war expect here in this scene. The emphasis is doubled when reminded of the sadness that is Casablanca and other World War II films by change of color to black and white. The gravity of the film is turned on when the screen shifts from color to black and
I will be explaining what sort of camera angles and lighting techniques were used to convey the good and evil shots throughout the movie. Throughout the film many different camera angles are used to help show good and evil. One example of this is when the new prisoners arrived at the prison. They used an overhead shot so we can see how big the prison actually is also to make the prisoners look very small, powerless and unimportant.
A nestled story, The Grand Budapest Hotel, begins with a young girl paying homage to the Author of a novel by the same name. The film then blinks back to the 1985, where The Author begins narrating how he came upon the intriguing story of Mr. Gustave H. The Grand Budapest’s concierge by saying “The incidents that follow, were described to me exactly as I present them here, and in a wholly unexpected way”. With that the film turns back once again to the 1920’s and the mystery begins. Audiences are swept off to an exotic land, as Mr. Gustave H. gets tangled up in the murder of the highly regarded Madame D. What follows is a fancifully painted story of Mr. Gustave’s adventures as he attempts to find the true murderer of the Madame D. and escape trouble himself.
For a long time researchers are trying to find the perfect recipe for success, however it is very hard to predict the response of the market to a new product and its adaptation to the environment. The Ice Hotel and the Travelodge are two ventures established in the end of 20th century both in the travel and hospitality sector but each one with its own unique business strategy. In evaluation of their success the decisions made throughout the development of the above mentioned ventures can be categorized as effectual and causal, as explained by Sarasvathy (2010). G.Sanvikarja suggests that causational logic is more rational and based on prediction where as the effectual strategy is more creative and is control orientated. Each of these approaches implies different strategies and reasoning behind both individual decisions and responsiveness to the environment. Furthermore, most enterprises follow a set of common principles that are key for building a business strategy including defining means, setting affordable loss, leveraging contingencies and forming partnerships (S. et. al, 2010). These four aspects are crucial for understanding how is a business created and what is its approach. However, it should be noted that most of the businesses are not strictly effectual or causal, rather a mixture of both with a tilt towards one. Every business is individual and should be treated like one. This paper will examine the business strategies behind the Ice Hotel and the
Wes Anderson has truly outdone himself with his 100 minute long masterpiece "The Grand Budapest Hotel". The film, set around the 1930 's, depicts an epic adventure filled with eye-catching aesthetics, extravagant characters, deadpan humour and witty dialogue in a dollhouse-like world. The director’s precise measurements of drama, deadpan comedy and engaging narrative paired with the mesmerising voice overs of Jude Law, as The Author, and F. Murray Abraham, as the older Zero Moustafa, make for a wonderfully bubbling, yet subtly melancholic film. It is truly a must see film.
With Trumps decision to build a new skyscraper in Chicago, architectural company Skidmore, Owings and Merrill had their work cut out for them. They needed to design a building that matched the expectations of not only Donald Trump but also the city of Chicago. Trump International Hotel and Tower forever changed the Chicago skyline. Trump Tower was the tallest building built in the United States since the Sears Tower also located in Chicago. This luxury building offers only the finest accommodations in order to serve those who invest in renting within the tower. From the original plan of the building to the tower that stands today, Trump International overcame set back after set back in order to complete their dream. The design,
Recently purchased by a large American hotel chain, the Regency Grand hotel, located in Bangkok Thailand, is an example of prestige, with a 5-star rating. For the past 15