Wes Anderson\u27s Cinematic Universe

Jesse Vanparys 2-04-2017 Film History II Wes Anderson’s Cinematic Universe Throughout this essay, I will attempt to observe the directorial catalog of the modern American Independent filmmaker Wes Anderson. Through extensive research, I will seek the common themes that run throughout his movies, such as style, characters, dialogue, dysfunctional families, and music. In my opinion, all of these elements are crucial and present in every movie in Wes Anderson’s canon. To further understand these elements, I will also look at the wide variety of other films and filmmakers that inspire or influence Wes Anderson. According to Raymond’s essay “Too Smart, Too Soon,” The Graduate (Nichols, 1967) and The King of Comedy (Scorsese, 1983) among many others. In short, I hope to study his entire filmography with a focus on finding common themes among them in terms of style, (using Oregon’s “La Camera-Crayola”) story, and influence. To achieve my previously stated goal, I will also need to consider the industrial/economic environment surrounding these films and any political or social messages found within the films. For instance, I will need to put forth some thought and effort into ascertaining which overall category or movement his films, and perhaps the films that influenced him, fall under or belong to. Although I have learned a little bit about Wes Anderson in my own personal time through interviews and commentaries, I look forward to approaching this subject with a more academic lense. Sources: Raymond, Marc. “Too Smart, Too Soon: ‘The King of Comedy’ and American Independent Cinema.” Film Criticism, vol. 34, no. 1, 2009, pp. 17–35. www.jstor.org/stable/24777404. This essay was useful because it focuses on Scorsese’s The King of Comedy and its influence. Rushmore is cited as an example of a film inspired by The King of Comedy. It also reveals information about the time period behind The King of Comedy. Orgeron, Devin. “La Camera-Crayola: Authorship Comes of Age in the Cinema of Wes Anderson.” Cinema Journal, vol. 46, no. 2, 2007, pp. 40–65. www.jstor.org/stable/4137181. Focuses on the position of filmmakers as auteurs/authorial figures. Also adds an emphasis on the DVD commentary culture that Wes seems to take advantage of. Also adds context to the films that inspire him and their respective backgrounds