The thesis analyzes the world of the director Wes Anderson with a particular regard to his use of colors and scenography. It takes its title from Accidentally Wes Anderson, the phenomenon born after its success, which consists in a hashtag that people all over the world use to share their photos that are reminiscent of Wes' settings, but which are only accidentally Andersonian. Intentionally Wes Anderson indicates that this thesis is not only intentionally about the director, but is set to be graphically similar to his films. The goal of the paper is to demonstrate, on the one hand, how it is possible to reinterpret modern cinematography from the perspective of interior design and, on the other, to provide reading tools related to chromatic and scenographic analysis and the definition of characters; these elements allow, in fact, a complete film analysis on several levels and the interpretation of the filmography of directors similar to Anderson, a filmography that gives to interior design a relevant role. The thesis starts from the meaning of space and from the difference between architectural and cinematographic space, continues with the definition of scenography and the roles of the set designer, and then moves on to Wes Anderson, his biography and filmography and his particular aesthetic; the topic of color is then introduced, an analysis of its meanings on a psychological and cinematographic level and the Anderson's color palette, to conclude, finally, with the analysis of the films The Royal Tenenbaum and Grand Budapest Hotel from the point of view of the set design, palette and costumes and how these relate to the main characters.
La tesi analizza il mondo del regista Wes Anderson con particolare riguardo per il suo uso dei colori e della scenografia. Prende il titolo da Accidentally Wes Anderson, il fenomeno nato dopo il suo successo, che consiste in un hashtag che le persone di tutto il mondo usano per condividere le loro foto che ricordano le ambientazioni di Wes, ma che sono solo accidentalmente andersoniane. Intentionally Wes Anderson indica che questa tesi non solo è intenzionalmente sul regista, ma è impostata per essere graficamente uguale ai suoi film. L'obbiettivo dell'elaborato è dimostrare da un lato come sia possibile una rilettura della cinematografia moderna nell’ottica dell’interior design e, dall’altro, fornire degli strumenti di lettura inerenti all’analisi cromatica, scenografica e alla definizione dei personaggi; questi elementi permettono, infatti, una completa analisi filmica su più livelli e l’interpretazione della filmografia di registi affini ad Anderson, una filmografia che dà all'interior design un ruolo rilevante. La tesi parte dal significato di spazio e dalla differenza tra spazio architettonico e cinematografico prosegue con la definizione di scenografia e i ruoli dello scenografo, per poi passare a Wes Anderson, la sua biografia e filmografia e la sua particolare estetica; viene poi introdotto l’argomento del colore, un'analisi dei suoi significati a livello psicologico e cinematografico e la palette cromatica di Anderson, per concludere, infine, con l’analisi dei film I Tenenbaum e Grand Budapest Hotel dal punto di vista del set design, palette e costumi e come questi siano in relazione con i personaggi principali.
Intentionally Wes Anderson. Analisi dei lungometraggi del regista dal punto di vista cromatico e scenografico
Pulvirenti, Giordana Lucia
2020/2021
Abstract
The thesis analyzes the world of the director Wes Anderson with a particular regard to his use of colors and scenography. It takes its title from Accidentally Wes Anderson, the phenomenon born after its success, which consists in a hashtag that people all over the world use to share their photos that are reminiscent of Wes' settings, but which are only accidentally Andersonian. Intentionally Wes Anderson indicates that this thesis is not only intentionally about the director, but is set to be graphically similar to his films. The goal of the paper is to demonstrate, on the one hand, how it is possible to reinterpret modern cinematography from the perspective of interior design and, on the other, to provide reading tools related to chromatic and scenographic analysis and the definition of characters; these elements allow, in fact, a complete film analysis on several levels and the interpretation of the filmography of directors similar to Anderson, a filmography that gives to interior design a relevant role. The thesis starts from the meaning of space and from the difference between architectural and cinematographic space, continues with the definition of scenography and the roles of the set designer, and then moves on to Wes Anderson, his biography and filmography and his particular aesthetic; the topic of color is then introduced, an analysis of its meanings on a psychological and cinematographic level and the Anderson's color palette, to conclude, finally, with the analysis of the films The Royal Tenenbaum and Grand Budapest Hotel from the point of view of the set design, palette and costumes and how these relate to the main characters.File | Dimensione | Formato | |
---|---|---|---|
2021_07_Pulvirenti.pdf
solo utenti autorizzati dal 11/07/2022
Descrizione: testo tesi
Dimensione
63.01 MB
Formato
Adobe PDF
|
63.01 MB | Adobe PDF | Visualizza/Apri |
I documenti in POLITesi sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
https://hdl.handle.net/10589/177786