El paradigma de la apropiación pop en Wes Anderson
This paper focuses in a selection of the most relevant chapters and epigraphs from the D.E.A. The New Language of Postmodern Cinema. Wes Anderson’s Aproppriation Paradigm, related to the Universidad Complutense de Madrid program “Teoría y Análisis y Documentación Cinematográfica” (Ciencias de la Inf...
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| Formato: | Artículo Artículo revisado por pares publishedVersion |
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Sección Departamental de Biblioteconomía y Documentación
2010
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| Acceso en línea: | http://revistas.ucm.es/index.php/CDMU/article/view/CDMU1010110043A http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=es/es-019&d=article21640oai |
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| Sumario: | This paper focuses in a selection of the most relevant chapters and epigraphs from the D.E.A. The New Language of Postmodern Cinema. Wes Anderson’s Aproppriation Paradigm, related to the Universidad Complutense de Madrid program “Teoría y Análisis y Documentación Cinematográfica” (Ciencias de la Información). Wes Anderson (Royal Tenenbaums, Life Aquatic), is one of the most representative directors of the new ‘american new wave’ cinema. As a paradigma of a pop-postmodern auteur, his films have achieved to draw a personal universe with a distinctive personal imprint based on the asimilation and representation of popular iconography from the last decades. This study analyses his work as director from the perspective of the collage, the rupture of a single cultural language and the need of seeking multidisciplinarity approach. Far from defining a likely biographic self-influence in his cinema, the goal of this analysis is to clarify the repercussion of media culture in his work, a fact that has been shortly studied before. |
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