The, Royal Tenenbaums, And The Grand Budapest Hotel

Estrella and her family are traveling on the road once again heading to another destination. Estrella, the protagonist sits among her four siblings, her brothers Ricky and Arnulfo and twin sisters Perla and Cookie in a crowded car (Viramontes 32). The illustration above paints the picture of a struggling family. The seven members are squeezed into a car described by the author as old. They bear the tough conditions as they move from one place to another,

Money isn’t the only thing that is valuable in this world. Although in many film texts this is not the case. Particularly in “Taming of the Shrew” and “10 Thing I Hate About You” because in both of the films, the main male characters Patrick and Petruchio are predominantly motivated by money. However, they ended up falling for Kat and Katharina who have been set up as the archetypal shrews in both films. During the Elizabethan era money was a major factor that influenced society’s view of your personal wealth. this is clearly reflected in the 1967 film text but is not evident in the 1998 version due to changing ideologies. Subsequently,I believe that the “Taming of the Shrew” is more an exercise in misogyny whereas “10 Things I hate About You” is more of a love story about a man liberating a woman, who may be seen as her equal, and who is as cunning as he is.

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

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 director uses multiple camera shots to highlight the love during troublesome times and the emotions that are present. A wide shot is used when the audience watches Guido marching in front of the soldier shortly before his death. Guido does this as he is aware that his son is watching and still wants the experience of the camp to be a fun game and does not want Giosue to be afraid of what is happening. Close up shots are commonly used throughout the film to give more detail into the emotions that the characters are feeling. A

In Wes Anderson's The Grand Budapest Hotel, I believe the movie's design has a unified feel. By understanding Anderson's approach to cinematography, we can tell that the costume and visual designs ensemble a true Wes Anderson's film. In fact, he is indulged with patterns and lively colors. His plot mainly reflects an old- fashioned, nostalgic feel and he is a bit playful with camerawork. On the other hand, the Grand Budapest really feel like a lively, happy hotel. The use of colors and contrasting hues made the setting almost looks like a painting. For example, the frame narrative where the Grand Budapest Hotel became the setting, the mise-en-scène and the lighting of the film become almost too symmetrical and mannered, especially during the

The beginning of the film invokes a tone of war. The camera pans over a winding road as ominous nondiegetic music creates the feeling of dread. The appearance of a winding road creates the feeling of travel or a faraway land. The events that occur in this space seem isolated. As

Lukas Hamlescher Dr. Neuendorf COM 320 Preliminary Draft Wes Anderson is a staple in the independent film community. He writes, directs, and produces most of his films. He takes time to develop stories unique to him and from each other. Nonetheless, all of Anderson?s films have an undeniable familiarity between them as he imprints his style on everything he creates. However, if he did not have inspiration or influences for his films, his creativity and artistic flair may not have a proper way to be displayed.

Wes Anderson is a world-renowned filmmaker known for creating vividly colorful films that are consistent with his auteur signature. Though he has only directed 7 films (not including his upcoming film and two short films), he is a perfect example of how even a small body of work can demonstrate auteur theory. Anderson’s films have frequent themes, visual and methodological style and he even uses a lot of the same actors in most of his films. The Life Aquatic with Steve Zissou (2004) is a great example to demonstrate Wes Anderson’s stylistic use of pastel color schemes, symmetrical shot composition, and thematic use of story elements such as trust, acceptance, child-like

The usage of camera movement and placement in Martin Scorsese’s film Goodfellas is phenomenal. It helps the audience feel the intensity arising. After Henry picks up Karen from the parking lot and learns she is upset, he becomes furious and knows he must confront the neighbor who caused this. Once they pull up into the driveway, we see Henry’s point of view as he looks into the car’s rear-view mirror to watch the neighbors. This sort of hints to the audience that something is going to happen in the near future.

In addition to camera movements, he uses camera distances and framing to create images that make the audience feel cheerful. When he frames a shot, if it takes place outside, there is ample amount of bountiful nature within the frame. The most prominent example of this is toward the end of the film when the narrator is describing the after effects of the massive storm. It is a medium close up but the narrator is only in a small portion of the frame, the rest if a

Cinematographers and art directors play a very important and creative role in film production. They work closely with the director and give a film its unique visual look and identity. The art director, David Lazan and cinematographer, Mauro Fiore, shot the film almost entirely in sequence, following the clock from the crack of dawn to a very dark night of reckoning. Compressing intense action and emotion into a brief time frame became one of their key challenges. They had to make sure the film felt like it was one single day unfolding which became the single biggest challenge during the production.

Set in 1984 The short film, Two cars one night utilizes the filming aspect of light and dark lighting to the contrast between the two cars with children in a pub car park. The long shot exhibited in the scene gives the picture of the two cars in the car parking lot while the adults are inside the pub. It shows the aspect of safety and danger for the children as they wait for their parents to come out from inside of the bar and pub. It also signifies the familiar and unknown as the children explore with their eyes what is around them. Taika uses the aspect of light and dark light to symbolize danger and create tension within this scene because as an audience we associate nighttime with being unsafe for children, and he uses the dark light and children in this scene to create a sense of danger. An example of this is when the car the two Boys are in is captured sitting still while the surrounding everything is moving, such as the people and the dark night sky. It portrays the darkness

Wes Anderson has been recognised as one of the most successful directors in the cinematic world with a distinct authorship towards his work. The auteurs approach of analysing films include the more important elements that makes up a film such as: editing, cinematography, lighten, casting, themes, story line, art direction and aesthetic style (Rosenberg, 2010). Anderson’s films all possess distinct techniques that he was heavily involved in producing. The Royal Tenenbaums (2001) featured many of his signature techniques such as using the recurring themes, filming styles, type of music and backdrop to give audiences a better understanding of the film and imprinting a certain tone throughout the film.

In the film the characters are able to slip out of the house during a quiet interval and drive away. The short story and the film have the same plots and the same conflict of man vs. man, man vs. nature, man vs. society, and man vs. the supernatural.