Architect or Director? Wes Anderson with His Cinematic Spaces

Authors : Serenay İnceoğlu, Özge Gündem

Pages : 619-634

View : 138 | Download : 128

Publication Date : 2024-12-29

Article Type : Research Paper

Abstract :The interaction of architecture and cinema takes place when the cinema prepares an experimental environment for architecture and architecture guides the cinema. In this study, auteur director Wes Anderson, who has become independent by dominating every phase in the production of his films, is examined. The aim of this study is to discuss whether Wes Anderson who has brought a new breath to the architecture-cinema intersection with his cinematic spaces created by the combination of pastel colors with natural light, is thinking just like an architect or not by revealing his design approach. Each film of Wes Anderson has been overviewed as an architect within the scope of the architectural parameters obtained from research made and The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, Isle of Dogs and The French Dispatch films were selected to be analyzed. As a result of the study, it has been determined that it is correct to evaluate director Wes Anderson as an architect at the same time because of his creation of cinematic spaces and conscious design attitude.
Keywords : mekân, sinemasal mekân, mimarlık, sinema, wes anderson