Anderson has been noted for his extensive use of flat space camera moves, obsessively symmetrical compositions, snap-zooms, slow-motion walking shots, a deliberately limited color palette, and hand-made art direction often utilizing miniatures.[31] These stylistic choices give his movies a highly distinctive quality that has provoked much discussion, critical study, supercuts and mash-ups, and even parody. Many writers, critics and even Anderson himself have commented that this gives his movies the feel of being "self-contained worlds", or a "scale model household". According to Michael Chabon, with "a baroque pop bent that is not realist, surrealist or magic realist", but rather might be described as "fabul[ist]".[32][not in citation given]
From The Life Aquatic on, Anderson has relied more heavily on stop motion animation and miniatures, even making an entire feature with stop motion animation with Fantastic Mr. Fox.[33]
Anderson has been noted for his extensive use of flat space camera moves, obsessively symmetrical compositions, snap-zooms, slow-motion walking shots, a deliberately limited color palette, and hand-made art direction often utilizing miniatures.[31] These stylistic choices give his movies a highly distinctive quality that has provoked much discussion, critical study, supercuts and mash-ups, and even parody. Many writers, critics and even Anderson himself have commented that this gives his movies the feel of being "self-contained worlds", or a "scale model household". According to Michael Chabon, with "a baroque pop bent that is not realist, surrealist or magic realist", but rather might be described as "fabul[ist]".[32][not in citation given]From The Life Aquatic on, Anderson has relied more heavily on stop motion animation and miniatures, even making an entire feature with stop motion animation with Fantastic Mr. Fox.[33]
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