Authorship and musical style in Wes Anderson’s films from the 2010s

Authors

DOI:

https://doi.org/10.1590/1809-58442024121pt

Keywords:

cinema; music; style; Wes Anderson; authorship.

Abstract

In Wes Anderson's films, the music was commonly characterized by pop songs, but Moonrise Kingdom (2012) shows a notable role for the classical music (already present in previous films, even if only as inspiration at times), in addition to consolidating the change of composer from Mark Mothersbaugh to Alexandre Desplat. As indicated by Hrycaj (2013) based on Gorbman (2007), Wes Anderson can be considered a mélomane director, responsible for “auteur music”, with a central role in musical choices. Focusing on Anderson's films from the 2010s, we evaluate changes in stylistic aspects in the use of music, including “montage sequences” and slow motion. As a methodology, we map music in films, film analysis and we use interviews with the director and collaborators.

Author Biographies

Luiza Beatriz Alvim, Escola de Comunicação e Artes (ECA), Universidade de São Paulo, SP

Post-doctoral researcher at the School of Communications and Arts of the University of São Paulo, CNPq-PDJ fellow, with the project “Preexisting classical music in certain contemporary cinema”. PhD in Communication from the Federal University of Rio de Janeiro (UFRJ), with a sandwich period under the supervision of Michel Chion at Paris 3 University, and PhD in Music from the Federal University of the State of Rio de Janeiro. Post-doctorate in Music from UFRJ. Author of the book Music in the Cinema of Robert Bresson.

Henrique Quaioti, Escola de Comunicação e Artes (ECA), Universidade de São Paulo, SP

Doutorando em Meios e Processos Audiovisuais pela Universidade de São Paulo, com a pesquisa de título: “A Poética do Cinema de Wes Anderson”, com bolsa CAPES. Mestre em Comunicação Audiovisual, com a dissertação Twin Peaks: The Return e a desfamiliarização das convenções narrativas na ficção televisiva, pela Universidade Anhembi Morumbi. Autor do livro A Narrativa do Universo Audiovisual de Twin Peaks.

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Published

2024-11-08

How to Cite

ALVIM, L. B.; QUAIOTI, H. Authorship and musical style in Wes Anderson’s films from the 2010s. Intercom - Brazilian Journal of Communication Sciences, São Paulo, v. 47, p. e2024121, 2024. DOI: 10.1590/1809-58442024121pt. Disponível em: https://revistas.intercom.org.br/index.php/revistaintercom/article/view/4712. Acesso em: 3 dec. 2024.

Issue

Vol. 47 (2024)

Section

Articles

License

Copyright (c) 2024 Luiza Beatriz Alvim, Henrique Quaioti

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