{"id":550,"date":"2018-01-03T21:17:03","date_gmt":"2018-01-03T21:17:03","guid":{"rendered":"http:\/\/generic.wordpress.soton.ac.uk\/dpty2\/?p=550"},"modified":"2018-01-03T21:24:32","modified_gmt":"2018-01-03T21:24:32","slug":"wes-anderson","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/2018\/01\/03\/wes-anderson\/","title":{"rendered":"Wes Anderson"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"THE GRAND BUDAPEST HOTEL: &quot;The Police Are Here&quot;\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/JN5sqSEXxm4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Wes Anderson is another great inspiration to me but is also himself heavily inspired by Buster Keaton &#8211; his characters acting with precise motives and movement, providing action sequences with a very simple physicality. The camera also acts in a flat world like Keaton\u2019s features, movement being horizontal, vertical or towards\/away from the camera. In doing so he creates a semi-hyper reality that is ultimately more appealing than the real world. Here we see two scenes that show Anderson\u2019s style of movement, be it the movement of the camera whilst interacting with the world or a static shot where the action is provided by the characters.<\/p>\n<p>HB<\/p>\n<p><iframe loading=\"lazy\" title=\"Moonrise Kingdom - The Young Person&#039;s Guide to the Orchestra - Subtitulos Castellano\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/9xb7rGRyC2o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><b>Bibliography<\/b><\/p>\n<p>After Hours at Rick&#8217;s. (2014). Wes Anderson\u2019s Grand Budapest Hotel; confecting a modern Buster Keaton comedy. [online] Available at: https:\/\/afterhourswithersi.wordpress.com\/2014\/03\/25\/wes-andersons-grand-budapest-hotel-confecting-a-modern-buster-keaton-comedy\/.<\/p>\n<p>Barnard, L. (2014). Wes Anderson shares secrets about making the Grand Budapest Hotel | Toronto Star. [online] thestar.com. Available at: https:\/\/www.thestar.com\/entertainment\/movies\/2014\/03\/13\/wes_anderson_shares_secrets_about_making_the_grand_budapest_hotel.html.<\/p>\n<p>Bordwell, D. (2007). Observations on film art \u00bb Funny framings \u00bb Print. [online] Davidbordwell.net. Available at: http:\/\/www.davidbordwell.net\/blog\/2007\/04\/30\/funny-framings\/print\/.<\/p>\n<p>Hamid, R. (2014). The General. [online] Senses of Cinema. Available at: http:\/\/sensesofcinema.com\/2014\/cteq\/the-general\/.<\/p>\n<p>Hauser, F. and Reich, R. (2003). Notes on directing. New York: Walker &amp; Co.<\/p>\n<p>Keaton, B. and Sweeney, K. (2007). Buster Keaton. Jackson: University Press of Mississippi.<\/p>\n<p>Knopf, R. (1999). The theater and cinema of Buster Keaton. Princeton, NJ: Princeton University Press.<\/p>\n<p>Kunze, P. (2014). The films of Wes Anderson. Palgrave Macmillan.<\/p>\n<p>LYNSKEY, D. (2014). Film By Film: Wes Anderson On Wes Anderson. [online] Empire. Available at: https:\/\/www.empireonline.com\/movies\/features\/wes-anderson\/ [Accessed 1 Jan. 2018].<\/p>\n<p>Morefield, K. (2015). Faith and spirituality in masters of world cinema. Newcastle upon Tyne: Cambridge Scholars Publishing.<\/p>\n<p>Mufson, B. (2018). Why Buster Keaton&#8217;s the OG of Physical Comedy. [online] Creators. Available at: https:\/\/creators.vice.com\/en_uk\/article\/vvyx9j\/why-buster-keatons-the-og-of-physical-comedy.<\/p>\n<p>Prikryl, J. (2011). The Genius of Buster. [online] The New York Review of Books. Available at: http:\/\/www.nybooks.com\/articles\/2011\/06\/09\/genius-buster-keaton\/.<\/p>\n<p>Puschak, E. (2016). Scott Pilgrim: Make Your Transitions Count.<\/p>\n\n<p>Available at: https:\/\/www.youtube.com\/watch?v=pij5lihbC6k.<\/p>\n<p>Runquist, K. (2017). Edgar Wright: How to Make a Protagonist | Video Essay. [online] YouTube. Available at: https:\/\/www.youtube.com\/watch?v=p6nFIogiMRg.<\/p>\n<p>Terkel, S. and Keaton, B. (1960). Buster Keaton talks with Studs Terkel ; 1960\/09\/05.<\/p>\n<p>Trahair, L. (2004). The Narrative-Machine: Buster Keaton\u2019s Cinematic Comedy, Deleuze\u2019s Recursion Function and the Operational Aesthetic. [online] Senses of Cinema. Available at: http:\/\/sensesofcinema.com\/2004\/comedy-and-perception\/keaton_deleuze\/.<\/p>\n<p>YouTube. (2018). Casino Royale shot &#8211; Whip Pan. [online] Available at: https:\/\/www.youtube.com\/watch?v=6qjCwb9DoaI.<\/p>\n<p>YouTube. (2018). H\u0131zl\u0131 Pan (Whip Pan) &#8211; Bruce Lee. [online] Available at: https:\/\/www.youtube.com\/watch?v=KTTAbdUL1LQ.<\/p>\n<p>Zhou, T. (2015). Buster Keaton &#8211; The Art of the Gag.<\/p>\n\n<p>Available at: <a href=\"https:\/\/www.youtube.com\/watch?v=UWEjxkkB8Xs\">https:\/\/www.youtube.com\/watch?v=UWEjxkkB8Xs<\/a>.<\/p>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Wes Anderson is another great inspiration to me but is also himself heavily inspired by Buster Keaton &#8211; his characters acting with precise motives and movement, providing action sequences with a very simple physicality. The camera also acts in a flat world like Keaton\u2019s features, movement being horizontal, vertical or towards\/away from the camera. In &hellip; <a href=\"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/2018\/01\/03\/wes-anderson\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Wes Anderson<\/span><\/a><\/p>\n","protected":false},"author":2622,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-550","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts\/550","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/users\/2622"}],"replies":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/comments?post=550"}],"version-history":[{"count":3,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts\/550\/revisions"}],"predecessor-version":[{"id":558,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts\/550\/revisions\/558"}],"wp:attachment":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/media?parent=550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/categories?post=550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/tags?post=550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}