Experimental Film - Reflective Analysis "It's just a chair"

Myself and two others set out to create an experimental film piece with the message of 'you may be perceiving things not as they are'. We shot a mixture of film and still shots all with an ambiguous nature as to what they are. 

The opening shot is a low shot of a round ceiling light where, when it's first looked at on a photograph (with editing of colour distortion etc), looks like the moon. We also included a photograph of a model eyeball to represent the main feature of the film- it plays tricks on the eyes. We included some images which weren't necessarily ambiguous in the object's nature but the image had been distorted to allow the audience to question what they are seeing. For example there is an image of a corridor which has been flipped and rendered black and white with manipulation to the contrast. When looking at this image it seems as though we are seeing walls outside and the night sky. 

We included a collection of facetious music to really ensure the audience feels quite uncomfortable and confused to accompany the unorthodox compilation of images and film. 

Presentation Script

 Does the use of Wes Anderson's theatrical framing and cinematography make him a modern auteur? 
Speaker:

Auteur Theory is defined in Warren Buckland's Auteur Theory (4) as 'assigning the directors to the titles os artists rather than thinking of them as mere technicians.' A director becomes an auteur by repeatedly influencing their films in very similar ways.  In this way, their influence becomes like a trademark.  An auteur may influence a film in many ways, such as repeatedly using the same actors, or repeatedly using similar camera angles; and in the case of Wes Anderson, it's his use of theatrical framing and cinematography.

Speaker:

Wes Anderson is an American filmmaker. He has made a total of eight feature films and two short films along with many advertisements.  He is definitely an auteur due to the distinct and theatrical visuals of his films. He repeatedly goes for a “flat” look and sets up long scenes, often with tracking shots and without cuts.  In this way he achieves very much a theatrical look.  In the following video we hear Anderson speak about how the ‘two dimensional’ look of his work is influenced by the fact he has always wanted to work in theatre.

Projector:

Way Too Indie Mise-en-scene and visual themes of Wes Anderson. (6)

Speaker:   

“I have always been drawn to long takes in films and movies. I like the experience of seeing the actors play the scene through and maybe that's like the theatre a bit.”

“I have always wanted to work in the theatre but I've never actually done it, not since I was in the fifth grade. but I've had many plays in my films and maybe theatre is a part of my movie work.”

(quotes from item 6)

Speaker:

This look can be attributed to a major influence of his- theatre. For example, this Stella Artois advert, take notice of how everything is very 2D like and symmetrical. There is no attempt to make the cityscape outside the window realistic. In fact he goes for the very opposite effect, making it look like a cheap stage backdrop.  The theatrical feel is enhanced by the symmetry of the room, where the couch and the floor seem like a stage and the higher areas to each side are like the wings. When the girl starts pressing buttons, pieces of the set start moving around.  These are like special effects that you would expect to see in a clever stage production, whereas special effects in film would tend to be more digital.

Projector:

Stella Artois commercial- Wes Anderson (2010) (8)      

Speaker:

There are many theatrical connotations in Anderson’s most recent film The Grand Budapest Hotel (1). For example, the story is told in a conversation between an unnamed author and Zero Moustafa. They are situated in the same spot throughout the film which is seemingly a stage. Having stages visible on set is a common motif used throughout. In Mark Kermode's review of The Grand Budapest Hotel (10) he discusses how there are "Theatrical framing devices are everywhere" along with "miniature stages". The use of stages is common in Anderson's films, seen in Moonrise Kingdom (2).As spoken about in item 6, Anderson has always found great enjoyment and interest in theatre and so is reason why there are recurring examples of stage plays in his films.

Projector:

Show still of the stage production in Moonrise Kingdom.

Speaker:

And is also appears in Rushmore.

Projector:

Show still of the stage production in Rushmore.

Speaker: It is clear that theatre has influenced Anderson's films greatly, to the point that theatre actually makes common appearances across his films.

Speaker:

Dry/slapstick humour is often used across Anderson's films but features at its highest in The Grand Budapest Hotel.  Anderson’s films are gaining a more mainstream audience and he is one of the few directors in mainstream cinema to use this particular type of humour. In his review (10), Mark Kermode also discusses how traditional comedy from Chaplain's era is used in The Grand Budapest Hotel. Slapstick comedy was first recorded in Shakespeare's plays (19) so it is obvious to conclude this is a very theatrical device and so for Anderson to use it in his films, it brings a theatrical feel to it.

How far does the impact of the films you have studied for this topic depend on distinctive uses of film techniques?

Matieu Kassovitz' 1996 'La Haine' is a film based upon 3 young males and their struggles living in an underclass society. Kassovitz uses a narrative of time which we are able to see through a number of different techniques. The main technique used to show time passing is the non diegetic sound and the digital clock on screen showing the time in between scenes. Through the use of the time we are able to conclude that these characters possibly have a lot of time and they aren't doing anything with it. This may also connote the idea of a countdown to the end of the film and ultimately the end of the characters' lives. We see many shots of the characters sitting around doing nothing as the time passes them by.

Another way in which we see the time passing is through the use of camera work. When the 3 main characters are in the estate, they stop and listen to the sound of 'Mohammed's' motorbike, as this is happening the camera tracks at 360 degrees around them which connotes the idea of time passing and a cyclical nature.
The distinct use of frequent distorted camera angles suggest many hyper-realist notions within the film. For example when we see the television crew filming the three, they are physically at a higher point than the three which connotes the idea of their power. The idea of hyper realism comes into effect with the shots where we can see through the camera lens of the television crew. When this is happening three are seen being aggressive which ultimately is how society sees the people within the estate. The film was filmed in colour but produced in black and white. The use of black and white connotes the idea of that the world and its issues are not just black and white- there are grey areas; just as black and white filming is visually - there are grey areas. The use of this focuses primarily upon race and class issues. Hubert and Said in particular have issues with racism due to the fact some African countries were colonised by France, resulting in the estate in which they live inhabiting sixty different nationalities.

In the final scene we see a shot of a building with French philosopher Charles Baudelaire's portrait painted on it. Baudelaire said "the world only goes round by misunderstanding". This quote supports the semantic field of the film as it is directly referencing time and its passing.
The many different uses of key mise-en-scene suggests and supports many different aspects of the characters' lives. We see things such as marijuana merchandise plotted around Vinz' room strongly suggests he has involvement in drugs, marijuana in particular.

Wes Anderson Research

To what extent does the distinct theatrical devices used across Wes Anderson's work make him a modern auteur?

Item 1

The Grand Budapest Hotel - Wes Anderson (2014)
Throughout this film we see a series of long takes which, I believe to have theatrical connotations to it being that, in theatre, the actors have to play the entire scene out with no mistakes or cuts- this is what Anderson creates in a vast range of shots in The Grand Budapest Hotel. The dry humour which we so often see in this film is derived primarily from theatre in the form of pantomimes.
We see sets of many scenes where the layout is like that of a stage accompanying highly theatrical acting. These, of course are direct references to theatre-esque production.
'The Grand Budapest Hotel' will be my focus film in the research as it's his most recent and incidentally most theatrical film, in my opinion, in terms of set style, framing and cinematography.  

Item 2
Moonrise Kingdom - Wes Anderson (2012)
In this film we see a number of shots where there is a seemingly 2D and flat look to them. Anderson creates the feel of the background to be that of a backdrop in theatre; shots such as those when the characters are on the island are very theatrical looking by the distinct use of flat framing techniques.  Also in this film there are frequent examples of long takes which, again, connote the idea of theatre. The use of the long takes allow the scene to flow well and to keep the feeling of theatre alive within the film. Anderson takes a very serious narrative and satirises it in a humourous way via the theatrical devices such as the seemingly unorthodox characters with serious job roles for example the policeman. This item proves of high importance to my research as it is Anderson's second most recent film and therefore his auteuristic style has developed in Moonrise Kingdom as opposed to his older films. 

Item 3 
The Royal Tennabaums - Wes Anderson (2001)
I used this film to include as one of my focus films in my research because of the highly staged scenes we so often see throughout many of the key scenes we see within it. The highly staged scenes of course connote the idea of theatre in that the way in which theatre performances are played through often use hyperbolic acting to accentuate key parts in the narrative.  Such uses of the still shot suggest a theatrical influence upon the feel of the film because in theatre the audience and the stage stay in one place and it's only the actors who move. 

Item 4
Auteur Theory-Warren Buckland 
The theory highlighted in the book describes what an auteur is in terms of their artistic tendencies. I will be using this with very high importance to my research as it defines the main part of my question and I can apply this definition and theory directly to Anderson as when analysing his work it is clear a distinctive style has been used consistently. This book discusses the consistency of the distinct style which really makes them rank as an auteur. 

Item 5
http://screenrant.com/wes-anderson-movie-guide/
I have chosen this article to support my research due to that it explores the recurring actors seen in Anderson's films and how that creates the idea of an auteur as it makes the director unique. In many theatre performances we often see actors play multiple characters in one showing- this is reflected in Anderson's work in the sense that his actors are seen to star in many of his films. This item holds a medium amount of importance towards my research because it doesn't necessarily discuss the cinematography but it  does hold useful information on theatrical devices which ultimately make him an auteur. 

Item 6
http://vimeo.com/86251763- Way Too Indie's Mise-en-scene and visual themes of Wes Anderson. 
I chose this video as it discusses in detail about how things in the scene are played through in a continuous long take- similarly to a theatre production. It also highlights Anderson speaking about how he's always wanted to work in theatre and how that passion must have influenced him to produce theatrical-esque films. This item holds high importance to my research as it features an interview with Anderson himself talking about his theatricality of his work. 

Item 7

'Wes Anderson is one of cinema's great auteurs'

http://theconversation.com/wes-anderson-is-one-of-cinemas-great-auteurs-discuss-25198

I have chosen this to support my research as it directly questions whether Anderson could be considered as a contemporary auteur.  It discusses how he is renowned for using perfectly centred shots; the centred shots connote theatrical traits as we often see the protagonist taking centre stage so the audience's attention can primarily be on him/her.  It also discusses how every shot of carefully staged and arranged - just like a theatre play. Due to its direct referencing to the auteur theory and how it applies to Anderson I will be using the article with high importance to my research. 

Item 8
Stella Artois commercial- Wes Anderson (2010)
https://www.youtube.com/watch?v=ZNYceaXH87g
I used this item to aid my research as it has direct references to theatrical elements in its entirety. The mise-en-scene such as curtains and the long takes connote ideas of theatre. Many believe Anderson's work to be influenced by French cinema; the fact he directed an advert for a company with origins from a  French speaking country, only supports this further. This item holds a relatively high importance and relevance to my research as it one of his works. However his true authorship may have been hindered and influenced differently due to the fact it is an advertisement for a company which is not his and this company, of course, will have the rights to final cut and some input into the presentation of the advertisement. 

Item 9
The mark of a director: Wes Anderson's Idiosyncratic style in The Grand Budapest Hotel

http://www.yucommentator.org/2014/04/the-mark-of-a-director-wes-andersons-idiosyncratic-style-in-the-grand-budapest-hotel/
I chose this item to contribute to my research as it discusses the auteur theory in itself and questions whether Anderson should be considered an auteur. It also argues what it takes to be a director and how Anderson has achieved that by making the film his own by applying his personal touch. This item will prove of relatively high importance within my research as it makes direct reference to the auteur theory. 

Item 10 

Mark Kemode's The Grand Budapest Hotel review. 

http://www.theguardian.com/film/2014/mar/09/the-grand-budapest-hotel-review-wes-anderson
I have chosen this article to use in my research due to that Mark Kemode speaks of the carefully constructed choreography which he relates to theatrical devices. It thoroughly supports my research investigation in that it relates directly to the theatrical uses within the cinematography of Anderson's films. Kermode also speaks about the work of Chaplain which, again, supports my question directly in that slapstick humour was used throughout Chaplin's work and time period and has clearly influenced Anderson and his work.  This article proves of a relatively high importance to my research as it discusses the use of the type of comedy which is seen within his films and this type of comedy holds theatrical connotations. 

Item 11
http://wallstcheatsheet.com/stocks/7-modern-directors-and-their-distinctive-visual-styles.html/?a=viewall
This article discusses Anderson's distinctive style to the extent that, if you were familiar with his work, you'd be able to spot if a film was directed by him within the first few seconds by identifying that the certain theatrical devices which make him unique. It directly addresses the theatrical element of Anderson's films and how that makes him unique as a director. It also discusses the use of Anderson's whimsical natured humour and his use of a stationary camera which both hold theatrical connotations. This item proves to be a medium amount of importance to my research as although it does discuss Anderon's technique, its main focus is upon other directors copying his style which is not relatable to my research. 

Item 12
http://www.huffingtonpost.com/2013/11/06/wes-anderson-movie_n_4225333.html
I have chosen this article to support my research due to the acknowledgement of Anderson's use of slapstick humour and the use of dance, both of which we see in theatre. The use of the dance we so often see in Anderson's films could almost be seen as paying homage to his influencer: theatre. This item doesn't hold a very high contribution to my research as it merely reinforces what I have already found in greater depth. 

Item 13

Film by Film: Wes Anderson On Wes Anderson. 

http://www.empireonline.com/features/wes-anderson
This article supports my research as it discusses Anderson's work as being unique and having a certain [theatrical] style to all of his films. Secondly, it discusses Rushmore's theatrical approach with on screen curtains closing after each scene. Rushmore features a teenager performing a stage play and so the curtains closing is a recurring motif which captures the essence of theatre in the film. This item will contribute to a medium-low level of importance as although it discusses Anderson applying a unique style to his films, it doesn't delve into any depth of detail with it. 

Item 14
http://www.vulture.com/2014/02/wes-anderson-and-cast-on-grand-budapest-hotel.html

This article discusses of the use of Anderson's ensemble cast. An ensemble cast is so often used in theatre that, from this, we are able to deduce the theatrical elements within Anderson's films. Although this article is writing directly about The Grand Budapest hotel, the use of an ensemble cast can be seen throughout his work. This article holds a medium to low amount of importance to my research as although it does discuss Anderson's theatrical like feel to his films, it is referencing this to the use of the ensemble cast which does not relate directly to my question. 

Item 16
Movie Brats Take Two (2006)
I chose this documentary to include in my research because in an interview with Anderson within this show, the interviewer asks about the theatricality used within his films such as The Royal Tennabaums and The Life Aquatic. This holds some relevance and importance to my research as it directly addresses the theatricality of Anderson's films but does then build upon this point and the interviewer moves on. 

Item 17
Production Design Porn: Wes Anderson  http://artdepartmental.com/2013/01/31/production-design-porn-wes-anderson/

I have chosen this article to support my research as it refers to Anderson as an influential director and an Auteur and supporting this by discussing why this is true of him. However, this piece does not hold great importance in my research as it doesn't go into much depth regarding Anderson's unique style. 

Item 18
The Substance of Style- Matt Zoller Seitz
http://www.movingimagesource.us/articles/the-substance-of-style-pt-1-20090330
Similarly to item 16, this article refers to Anderson as an auteur and goes onto explain what an auteur is and why he is labelled as such. Other than describing Anderson as an auteur, this article doesn't delve much into Anderson's work to strongly justify why he's an auteur and thus, this article holds very little importance to my research as it merely reinforces my preposed statement. 

Item 19
Slapstick Comedy
http://en.wikipedia.org/wiki/Slapstick
I am using this wikipedia article to include the definition and the history of slapstick comedy in my research. It explains slapstick originated from Shakespeare's plays, so when slapstick is used in Anderson's films it is reasonable to suggest that there are theatrical influence and devices used.

Rejected items - 

http://www.empireonline.com/features/wes-anderson

I rejected this item due to the fact it holds little to no useful information of Wes Anderson and his films. It states the obvious and is written in a relatively informal style so ultimately it did not help me with my research.

March 2014's issue of 'Sight and Sound' magazine, article 'The Grand Budapest Hotel'
I rejected this item due to its lack of talk about his cinematography as it is more focussed on the story line and the history of the non fictitious element to it.

June 2012's issue of 'Sight and Sound' magazine, article 'Moonrise Kingdom'
Again, this article writes none of the visual work in Anderson's films. However, the interviewer asks about the 'amateur theatrics of his films' unfortunately, Anderson does not respond directly to that element of the question.

http://www.rowthree.com/2009/11/10/auteur-essay-matt-zoller-seitz-on-wes-anderson/

This item became of no use to my research due to the fact it speaks very little about Anderson's work in itself and focuses more upon his influences and those whom he influenced. 

Fantastic Mr. Fox - Wes Anderson (2009)
I have chosen to not include this particular Anderson film in my research due to that it's a stop motion animation so doesn't directly act in the way of theatre. However it does use typically theatrical devices such as the characters' dancing but without the use of human actors on screen- for me, it could never truly be a theatrical film.