Abstract
Through a systematic analysis of his seven live action films (from Bottle Rocket to The Grand Budapest Hotel), this essay investigates the ambivalent features of Wes Anderson’s distinctive mise-en-scène and examines the emotions it evokes. This essay is guided by several research questions: What are the stylistic characteristics of Wes Anderson’s films? How does Wes Anderson’s mise-en-scène create a distinctive emotional appeal? And: How exactly does mise-en-scène work in particular scenes to create specific emotions?
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