I will now BLOW YOUR MIND regarding Wes Anderson’s The Grand Budapest Hotel
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It’s called framing, and in particular here use of a frame within a frame. But what I’m sure matters more is the relation of the subject to the view presented through the frame. Who’s looking out? In? At what? At whom? And how does this describe or characterize the situation the subject finds him/herself in? How do these views provide the subject with options, constraints, opportunities, obligations? I think this is perhaps where the metaphorical relationships between hotel as place, architecture, home, prison, trap — and frames as means of relation individuals to one another in ways common or uncommon to this kind of a place is used by Wes to contain a much larger storyline within a relatively tight visual and architectural (and stylistic) space.

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