• Title/Summary/Keyword: 그랜드 부다페스트 호텔

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A Study on the Image Expressed in Movies of Wes Anderson : Focused on , (웨스 앤더슨의 영화 속 유니폼에 표현된 이미지 연구 : 영화 <문라이즈 킹덤>, <그랜드 부다페스트 호텔>을 중심으로)

  • Cha, Jihyun;Kwon, Mijeong;Ryang, Samseok
    • Journal of Digital Contents Society
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    • v.18 no.7
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    • pp.1303-1312
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    • 2017
  • Ideologies are expressed by the various elements that make up the film. One of them is costume. The purpose of this study is to analyze the formative features and images of uniforms displayed on the costumes in Wess. Anderson 's films. To this end, the authors selected two pieces of Wes Anderson's work, 'Moonrise Kingdom' (2012) and 'Grand Budapest Hotel' (2014), which were produced after 2010. Through this study, we could understand the causality between the two and the symbolic meaning of it. The uniforms that appear in the film express the sense of belonging, independence, authority, mission, identity, self-esteem, and self-esteem in order to reveal the occupation and role of the characters. And authority and mission. I

Reality Strategies in Fantasy and Narrative Infections -Fiction Vampire and Movie The Grand Budapest Hotel (판타지의 리얼리티 전략과 서사적 감염 -소설 <흡혈귀>와 영화 <그랜드부다페스트 호텔>을 중심으로)

  • Choi, Sung-Min
    • Journal of Popular Narrative
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    • v.25 no.4
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    • pp.397-428
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    • 2019
  • Fantasy emerges from the cracks and crevices of rational reality. Italo Calvino says, "Fantasy is possible when the reader stays at a certain distance without falling into the text." Fantasy does not form farthest from reality. It comes from the confusion between reality and fiction. In short, fantasy does not exist on the contrary of reality, but on the boundary of reality. Reality and fantasy are also structurally intertwined. We can't distinguish the reality from fantasy clearly. In fact, in this case, the reader or audience is confused about whether what I see is real or not. Todorov calls this case "hesitation." Hesitation is a key element of fantasy. Two texts that expressed "hesitation" are Kim Young-ha's short novel Vampire (1997) and Wes Anderson's film The Grand Budapest Hotel (2014). On the surface, these two texts seem to have nothing to do with narrative structural similarities. And both also arouse readers' and audiences' interest by letting confuse reality to fantasy. In Kim Young-ha's Vampire, we can look at the process of confusion of reality called "narrative infection" when a text is read to the reader. In the movie The Grand Budapest Hotel, we can find a strategy to make an unreal story feel like a fact in history. And we can also find a process in which the success stories of alienated characters become reality through 'solidarity' in the film. This paper is a study of how fantasy creates "reality", makes readers feel fantasy, and how it spreads through these two texts.

A Study on 'the Depth of the Film Image' and its aesthetic implications in the Wes Anderson's films: Focusing on the film and (웨스 앤더슨 감독의 영화에서 '화면 깊이감'의 활용과 미학적 함의 - <그랜드 부다페스트 호텔>과 <문라이즈 킹덤>을 중심으로)

  • Choi, Hyun-Ju
    • Cartoon and Animation Studies
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    • s.43
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    • pp.343-362
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    • 2016
  • The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.