Architect or Director? Wes Anderson with His Cinematic Spaces

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

• space
• cinematic space
• architecture
• cinema
• wes anderson

Mimar mı Yönetmen mi? Sinemasal Mekânlarıyla Wes Anderson

Abstract

Sinema ve mimarlık etkileşimi, sinemanın mimariye deney ortamı hazırlaması ve mimarlığın da sinemaya yol göstermesi ile gerçekleşir. Bu çalışmada, filmlerinin yapımında her aşamaya hâkim olarak bağımsızlaşan auteur yönetmen Wes Anderson incelenmektedir. Bu çalışmanın amacı, pastel renklerin doğal ışıkla birleşimiyle yarattığı sinematik mekânlarla mimarlık-sinema kesişimine yeni bir soluk getiren Wes Anderson'ın tasarım anlayışını ortaya koyarak tıpkı bir mimar gibi düşünüp düşünmediğini tartışmaktır. Yapılan araştırmalardan elde edilen mimari parametreler kapsamında Wes Anderson'ın her filmine bir mimar olarak bakılmış ve The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, Isle of Dogs ve The French Dispatch filmleri analiz edilmek üzere seçilmiştir. Çalışmanın sonucunda, sinemasal mekân yaratma biçimi ve bilinçli tasarım tavrı dolayısıyla yönetmen Wes Anderson’ın aynı zamanda bir mimar kimliğiyle de değerlendirilmesinin doğru olacağı tespit edilmiştir.

Keywords

• mekân
• sinemasal mekân
• mimarlık
• sinema
• wes anderson

References

1. [1] Ergin, S. (2007). Mimarlık ve Sinema Etkileşiminin Sinemasal Mekâna Etkileri ve Nuri Bilge Ceylan Sinemasından Bir Örnek: "Uzak" (Publication No.179024) [Master’s Thesis, Anadolu University].
2. [2] Beşışık. G. (2013). Sinema ve Mimarlıkta Mekân Kurgusu ve Kavrayışı. [Master’s Thesis, Dokuz Eylül University]
3. [3] Lefebvre, H. (1991). The Production of Space. Translated by D. Nicholson-Smith, Massachusetts: Blackwell.
4. [4] Norberg-Schulz, C. (1971). Existence, Space and Architecture. London: Studio Vista.
5. [5] Özdemir, V. (2014). Sinemada görüntü düzenlemesi: Günümüz Türkiye sineması çerçevesinde bir değerlendirme. [Master’s Thesis, İstanbul Ticaret University].
6. [6] Köseoğlu, Ş. (2013). Kültür, mekan ve sinema: Yeşim Ustaoğlu filmleri. [Master’s Thesis, Karadeniz Technical University].
7. [7] Bell, G., & Dourish, P. (2004). Getting out of the city: Meaning and structure in everyday encounters with space. In Workshop Proposal Paper (p. 14).
8. [8] Monaco, J. (2009). How to Read a Film: Movies, Media, and Beyond. Oxford University Press.

9. [9] Anderson, W. (Director). (2001). The Royal Tenenbaums [Film]. Touchstone Pictures.
10. [10] Anderson, W. (Director). (2004). The Life Aquatic with Steve Zissou [Film]. Touchstone Pictures.
11. [11] Anderson, W. (Director). (2014). The Grand Budapest Hotel [Film]. Fox Searchlight Pictures.
12. [12] URL-1. The Grand Budapest Hotel Is Actually a German Department Store https://www.nbcnews.com/news/world/grand-budapest-hotel-actually-german-department-store-n163781 Last Accessed: 18.07.2024
13. [13] Anderson, W. (Director). (2018). Isle of Dogs [Film]. Indian Paintbrush.
14. [14] Canon Europe. (2018). The making of 'Isle of Dogs' [Video]. YouTube. https://www.youtube.com/watch?v=N5SC3kPdsQA Last Accessed: 17.07.2024 [15] Gibson, E. (2017). Frank Lloyd Wright merged eastern and western architecture at Tokyo's Imperial Hotel. Dezeen. https://www.dezeen.com/2017/06/15/imperial-hotel-tokyo-japan-frank-lloyd-wright-150th-anniversary/ Last Accessed: 17.07.2024
15. [16] StudioDaily. (2018). Production Designer Paul Harrod Talks "Isle of Dogs" [Video]. YouTube. https://www.youtube.com/watch?v=qxRWrBPMHi0 Last Accessed: 17.07.2024
16. [17] Anderson, W. (Director). (2020). The French Dispatch [Film]. Searchlight Pictures.
17. [18] Tati, J. (Director). (1958). Mon Oncle [Film]. Specta Films.
18. [19] URL-2. Fondazione Prada. https://www.fondazioneprada.org/visit/visit-milan/?lang=en Last Accessed: 18.07.2024
19. [20] URL-3. Bar Luce. https://www.fondazioneprada.org/barluce/ Last Accessed: 18.07.2024
20. [21] Frearson, A. (2015). Wes Anderson-designed Bar Luce takes its cues from old Milanese landmarks and cafes. https://www.dezeen.com/2015/06/07/wes-anderson-designed-bar-luce-takes-cues-old-milanese-landmarks-cafes-fondazione-prada-interiors/ Last Accessed: 18.07.2024
21. [22] Tanyeli, U. (2001). Sinema ve Mimarlık: Temsiliyet Nesnenin Temsili Sanalın Sanallıkla İfadesi, Arredamento Mimarlık, 11, 66.
22. [23] Bowman, B. (1992). Master Space: Film Images of Capra, Lubitsch, Sternberg and Wyler. Connecticut, ABD: Greenwood Press.
23. [24] Affron, M. J., Affron, C. (1995). Sets in Motion: Art Direction and Film Narrative. New Jersey, ABD: Rutgers University Press.