Research Information System
Gazi University Journal of Science Part B: Art Humanities Design and Planning, vol.12, no.4, pp.619-634, 2024 (Peer-Reviewed Journal)
Since the beginning of cinema, space has not only been the protagonist of architecture, but has also played an important role in films. In cinema, space serves to establish historical context, deepen character development and add psychological and cultural layers to the story. The relationship between architecture and cinema is symbiotic; cinema provides an experimental platform for architecture, while architecture determines the direction of cinema. Both disciplines are initially imagined in the mind, go through planning and produce products with similar production techniques. Known for his meticulous attention to detail, Wes Anderson became a master of both disciplines by overseeing every aspect of film productions. The aim of this study is to reveal the design approach of Wes Anderson, who has brought new life to the intersection of architecture and cinema with the cinematic spaces he created with the combination of pastel colors and natural light, and to discuss whether he thinks like an architect. This study focuses on five of Anderson's films - The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, Isle of Dogs and The French Dispatch - and analyzes how space is used in each film. In Anderson's cinema, space is not only a backdrop but also a character that influences the narrative and reinforces the mood and characteristics of the protagonists. The study aims to discuss whether Wes Anderson whom has a deliberate approach to design with diverse cinematic spaces can be recognized as an honorary architect or not.