Recursos fotográficos en el cine de Wes Anderson. El caso de 'The French Dispatch'

Abstract

The connections between photography and film are located at an interdisciplinary intersection of the artistic languages of both media, simultaneously opposed and complementary. In this paper, we approach photography as a filmic resource tied to the detention of time and the creation of individual and collective memories in cinematic discourse. Specifically, we aim to examine the link between photography and cinema in Wes Anderson's work, taking his latest film, The French Dispatch (2021), as a case of study. Based on previous work by other authors, a model of analysis chart applicable to any film has been developed, which has allowed us to distinguish the photographic resources used by Anderson in the feature film examined. From the latter, it stands out the consideration of photography as the constitutive essence of the film through the detention of the filmic elements of the mise-en-scène. The analysis shows that the use of photography is a frequent narrative resource in Wes Anderson's films as part of the mise-enabyme and self-consciousness of representation, while at the same time presenting semiotic implications in relation to memory and time.