To begin with, cinema as part of literature has of late earned a lot of popularity or in simple terms fame. In actual sense, cinema is based on film making. In essence, film making requires so much than what meets the eye. In connection to this, we have in the context the topic about Wes Anderson in the field of film making. Basically, Wes Anderson is an American film director, an actor, screenwriter and a producer of short films, features and commercials.
Historically, he was nominated for the Academy Award for Best Original Screenplay in 2001, the Royal Tenenbaums. He has proved to be involved in every aspect of his film’s production. This has in turn earned him a name auteur. By close examination of his films, one will realize that they have a similar aesthetic. If one happens to watch one of his films, if presented by a second one will without doubt realize his production. Remarkably, his artistic employs a deliberate methodical cinematography basically using major colors (Hayward 74).
So to speak, Wes Anderson is involved in every aspect of film production. In this sense, he is involved in writing, cinematography, and design for production and in the larger perspective the selection of music that accompanies his films. Wes Anderson has also been associated with the use of the same actors, crew members and other collaborators. Among the films that he has produced there is Bottle rocket 1996 and Fantastic Mr. Fox 2009 among others. However, one of these two of the directorial films will be employed in order to explore the cinematic norms that Anderson uses in his films. In this context, camera placement, editing, mise-en-scene, and accompanying music will be brought into view.
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In particular, Fantastic Mr. Fox 2009 will be explored in order to point out on the cinematic norms that Anderson uses. One may question to know the meaning of cinematic norms of which in essence it refers to the cinematic styles that are employed in terms of audio-visual aspects that are employed (Hayward 75).More to this point, of importance to note is the fact that camera placement, editing, mise-en-scene, and accompanying music in the film makes the cinematic model or custom that the film producers applies.
Following the cinematic models that are used by Wes Anderson, one can be better placed to recognize what has made him to get a lot of recognition in his field of expertise. First of all, Wes Anderson has over time employed an aspect of deliberate camera placement. Having had developed editing skills on his childhood, he is well placed to do the editing to an extent that connecting of episodes and utilization of space is done with efficacy. In the same line of thought, there is the aspect of mise-en-scene. When this word is used in any film context, it brings out the meaning of what is seen in a film.
In line with this, editing can be literary defined as what we do not see in the film. Mise-en-scene is essentially the building blocks of a film which are defined by the shot and cut aspects. This is the norm that allows a film to achieve its texture and reverberation. If a shot is done, it is not incorporated just the way it is. (Hayward 68) Nevertheless, shots are put together by means of editing an aspect that affects the way a film is viewed and understood by the viewers. Mise-en-scene in simpler terms when used brings the meaning of putting the shots into the scene or everything that appears before the Camera together with its arrangement. For objects placed on a table, camera is placed on top directly in order to shoot straight down with the Camera moving overhead. This is the kind of Camera placement that is used by Wes Anderson in his films.
Even when people are many, Anderson manages to arrange them enthusiastically to fit the camera without overlapping each other. In another point of view, he calls his Camera placement as awkward and shaking inclination. Nevertheless, it can generally be said that the placement of Camera in his films is deliberate or rather premeditated. Unlike other films which are directly transferred from the book to the film, his films involve a complex way of making them into film. Notably, Wes Anderson has so much employed rock music in the films he has produced. Fundamentally, music is used in film making in order to reinforce meaning. (Hayward 75). The reinforcement of meaning may be in regard to danger, romance and such like aspects.
Over a long time, Anderson has been known for his attribute of being a storyteller. One cannot doubt the kind of movie he or she is watching owing to the fact that Anderson films are marked with a pronounced and unique aesthetic. It has been remarkably noticed that Anderson uses primary colors in the films (Hayward 76). At the same time, the way he places their Camera deliberately makes one to practically feel the one holding and moving it around him. In this sense, Wes Anderson can be described as a story teller of the screen. Adaptation of Roald Dahl’s novel in the Fantastic Mr. Fox film of 2009, it is a great achieved whereby Anderson employed animation as a genre (Wall Street Journal 1).
At this point it is important to bring out the whole scope of the film though in a brief presentation. The film is an adaptation of a story just as it has been highlighted. It is about a fox by the name Mr Fox who happens to be stealing chicken, ducks and turkeys from three mean and wealthy farmers (Wall Street Journal 1). They are named Boggis, Bunce and Bean. In the course of events, the farmers are fed up by the theft and in response they set out to guard in order to kill Mr Fox. Waiting outside Mr. Fox’s hole in attempt to ambush him, their efforts prove to be an exercise in futility. Being fired when he emerges from the home, the farmers only succeed to make a waft off of the tail. By making use of spades and shovels to dig to Mr. Fox’s home, they never succeed to catch him as he manages to escape through an underground tunnel deeper in the ground.
Although on realizing this the farmers employed the use of bulldozer to dig deeper, their efforts proved to be a null exercise. Faced by this condition, the three farmers decide to guard the fox tunnel as well as ensuring the patrol of the area in order to ensure that the foxes do not escape. Three days of starvation makes Mr. Fox to come up with a plan of which they dug to Boggis’s chicken house and stole chicken without leaving a sign of their presence (Wall Street Journal 1). They also raid the other farmer’s ducks and geese as well as vegetables. After looting, they meet with Badger and other digging animals that were starving. Mr. Fox decides to share the loot with them and in the process they agree to make an underground town whereby they would live and continue to steal from the farmers. Meanwhile the farmers continue to guard without knowing that their food was been stolen. Presumably, the farmers may forever continue to guard Mr. Fox while he continues to steal without their knowledge.
Having provided a brief presentation of the film, it is important to bring out the way Anderson has managed to apply his cinematic norms. In quintessence, the film is an unconventional and wildly imaginative film. It is marked with a unique mottled plotting. It is evident that from the film Anderson is preoccupied with technical based aspects of his films ranging from the color scheme, costume design and credit fonts together with prop book titles. In the Fantastic Mr. Fox film, Anderson applied the stop- motion animation (Wall Street Journal 1). Based on the video part of the film, Anderson’s Fantastic Mr. Fox used a stop motion animation of which it is a high definition videos. Principally, this is achieved when the intricate aspect of the frame is in perfect focus. In this film, color schemes have been made use of with the color pallet in place (Hayward 76). The film has also featured very cool landscapes with popping blue items. In spite of this, the film reveals a perfect representation of the indented element of representation.
Considering the accompanying music of the Fantastic Mr. Fox, Anderson has used the pop and rock music for reinforcement of which it has proved to be impressive. Notably, the boundaries in Anderson’s films are not determined by boundaries but rather color pallets which makes the shot to come into the scene so well. As it regards, the mise en scene, the stop animation of the Fantastic Mr. Fox meshes perfectly with animation(Wall Street Journal 1). In combination with this, the film tends to appear as if it has been influenced by French Cinema although this is not clear. Especially in the part of speaking, Fantastic Mr. Fox feels more traditional than cartoon, however, the film can be said to have been so inflexible and boxy.
From a broad point of view, Anderson has been known over time for making use of music and soundtrack to keep the mood of the film in his Films. In this connection, Fantastic Mr. Fox is not exempted and therefore, he used music and soundtrack that maintained as well as kept the mood of the film. In this regard, the mood has been kept by music composed by Alexandre Desplat’s score along with rock and folk music that has been used to make the film artistic as well as maintain the atmosphere of the film. It is important to note that the film has been made humorous by means of Cameo by Jarvis Cocker who has made a proviso for the original song of the soundtrack that has accompanied the film (Wall Street Journal 1).
While most of characters in Films are recorded at a studio, Anderson has gone to an extend of taking the actors from different locations inclusive of forests among others. This has so much contributed to the success of his films and more so with this particular one for entertainment of children. This film was taken with the sole aim of ensuring that it looked more real and the fact that the animation would present a real life example. This was made possible by use of the same imperfections and peculiarities that are visible when one takes a picture in real life.
Wes Anderson from another point of view is known to be better placed to use film as a pen. In this sense, he is original in thought and able to put what is written in books well with a pen of film. In most cases, film may prove to be tasking. Nonetheless, this has not been the case with Wes Anderson and his cinematic norms or rather models. He does not really take the normal way that has been used by film makers over time but rather he maintains a tendency to be creative and original in thought. Placing emphasis on what he has done in the making of his films, it is vital to point out that he has managed to employ a good use of the Camera (Wall Street Journal 1). As he puts it, the Camera has been on an awkward placement that has been put deliberately in order to capture the whole aspects or rather the gestures and features of the actors,
In particular, he places the camera in a way that the images are not overlapping and that is the reason one is able to well view his characters. Moreover, Anderson has managed to do an excellent job in editing, a skill he learned while he was still a young kid(Wall Street Journal 1). Editing in a broader definition, it is the aspect of being able to select shots made by the Camera and then combining them in sequence to ensure a motion of pictures. Wes Anderson has made this so successfully and this is evident from the flow of the story and how easily one can be able to connect the flow of the story. This is the reason why he is called a screen story teller.
Though one is not able to touch the editing part of the story, it is the skill that perpetuates way for what is seen in the screen. (Hayward 147). This is all about Mise-en-scene, of which it refers to what is seen the cinema. For instance, what is seen in the Fantastic Mr. Fox film is the fact that he can be seen stealing, seen in the caves and seen the way he appears as he is animated. By referring to the brief presentation as given above, one can make out the Mise-en-scene of the film.
Apart from this, the film has been enriched with the music which has largely been the rock and folk music. The use of music and sound track has been evidenced in the Fantastic Mr. Fox film whereby as it has been highlighted, music is used to keep the mood of the film (Wall Street Journal 1). The music for Fantastic Mr. Fox can be said to be wild amalgamation of styles and influences that places songs by everyone. This is to suggest that, it places songs like the ones from Beavh boys and the Rolling stone to Burl Ives among others.
Generally, studying Wes Anderson and his Cinematic Norms, is quiet interesting and an attempt that should be embarked on by many. Owing to the development of his film work, one can learn a lot in what underlies the excellent cinematic styles and norms he employs. Needless to state, Wes Anderson has a taste on the camera placement that translates to flawless shots. The editing done to these films is one of an expertise that brings about that Mise-en-scene of the film. This is evident owing to the fact that the motion of pictures produced after the editing brings about a flow in the story. (Hayward 173). As a result of this factor, he has been awarded for making his work as a screen story teller. This is to bring the meaning that the story generated or rather the end product of the film by Anderson has a Mise-en-scene that makes it to be well understood by the viewers. Again in this context, Wes Anderson effectively employs that use of music and soundtrack that helps to reinforce the meaning as well as keep the mood of the film.