Alternative Theory Presentation: Wes Anderson & Double Framing

Paper Title: Wes Anderson: The Magical Realism of Frame and Mirror

Excerpt Presented: Paragraph #4: Applying Arnheim's arguments to Anderson

Approach: Cinema as Frame

Result of Approach: Anderson uses the frame to evoke fantasy.

Arnheim's argument: In "Film and Reality", Arnheim argues there is a fundamental difference between how we perceive with our eyes and how we are allowed to perceive in a film. He believes that the frame’s limitation implies a fantasy reality which reaches beyond what we can see.

My argument: Anderson shoots characters so that they are meticulously positioned (often centrally) within the frame by the camera. In addition, he adds a second element of framing - framing within the frame, or what I refer to as double framing. This immaculate hierarchical positioning of characters creates a sense of unreality; because they are specifically positioned for the spectator, Anderson's use of frame is constantly calling attention to the fact that film is an artificial medium.

Rationale for Chosen Method: I chose to communicate my theoretical argument using gifs because the visual motif I am trying to illustrate is best suited to a visual mode of communication. Gifs allow me to illustrate the examples I cited in my paper in a mode closer to how these moments were intended to be experienced. In my paper, I used examples of Anderson's double framing within his two most recent works, The Grand Budapest Hotel (2014) and Moonrise Kingdom (2012), but space constraints did not allow for extensive examples. However, in this format, we can gather together visual moments in order to create a place to compare, side-by-side, the different ways this pattern appears in Anderson's work, using more examples from both Moonrise Kingdom and The Grand Budapest Hotel, but also being able to illustrate how this pattern is present in many other films by Anderson.

Here are just few examples of the many instances of Wes Anderson's double-framing in his work, as told by gifs.

The Grand Budapest Hotel (2014):

Moonrise Kingdom (2012):

The Fantastic Mr. Fox (2009):

The Darjeeling Limited (2007):

The Life Aquatic with Steve Zissou (2004):

The Royal Tenenbaums (2001):

Rushmore (1998):

To return to the Interactive Theory Paper, click here.

*gifs from giphy.com

Wes Anderson & Objects

Here are some examples of another motif in Wes Anderson's work: his focus on objects.

The Grand Budapest Hotel (2014):

Moonrise Kingdom (2012):

The Fantastic Mr. Fox (2009):

The Darjeeling Limited (2007):

The Royal Tenenbaums (2001):

The Life Aquatic with Steve Zissou (2004):

To return to the Interactive Theory Paper, click here.

*gifs from giphy.com

"The Darjeeling Limited" (2007)

The Darjeeling Limited (2007) is a standing ovation film.

Because there is just nothing as delightful, as engaging, as likable as a Wes Anderson film. Actually, there's just nothing like a Wes Anderson film, period.

A few notes:

- the father's eyeglasses that Peter (Adrien Brody) wears throughout the movie are the perfect returning motif for a film about finding a new way to see the world.

- Wes Anderson's films know exactly where objects should be. The placement of (the perfect) items in the perfect place is impeccable and makes his films highly iconographic/emblematic. When a film gives us the time to infuse those objects with meaning, the power of the associations we make with these objects can be repeatedly called upon during the rest of the film to quickly invoke a larger theme or question. This approach gives the viewer the impression that they infused the object with the meaning themselves. I'm astounded that so few films use objects in this way (and if they do, never with the same level of meticulous care).

- Favorite line: when Anjelica Houston's character, Patricia the nun, is talking about the death of their father. She says, "We'll never get over it, but it's okay. There are greater forces at work."

- This whole exchange:

Francis: "I guess she became a nun, apparently. You know what she's like."

Jack: "A nun?"

Francis: "Apparently."

It's impossible to actually write down everything charming and stirring and poignant and hilarious and heartbreaking and decadent and honest about this film. Wes Anderson films are the best films.

And finally, of course: