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The Films of Wes Anderson

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Cover of 'The Films of Wes Anderson'

Table of Contents

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    Book Overview
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    Chapter 1 Introduction
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    Chapter 2 The Short Films of Wes Anderson
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    Chapter 3 Cast of Characters: Wes Anderson and Pure Cinematic Characterization
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    Chapter 4 The Jellyfish and the Moonlight: Imagining the Family in Wes Anderson’s Films
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    Chapter 5 “Max Fischer Presents”: Wes Anderson and the Theatricality of Mourning
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    Chapter 6 “Who’s to Say?”: The Role of Pets in Wes Anderson’s Films
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    Chapter 7 “American Empirical” Time and Space: The (In) Visibility of Popular Culture in the Films of Wes Anderson
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    Chapter 8 From the Mixed-Up Films of Mr. Wesley W. Anderson: Children’s Literature as Intertexts
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    Chapter 9 A Shared Approach to Familial Dysfunction and Sound Design: Wes Anderson’s Influence on the Films of Noah Baumbach
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    Chapter 10 Bill Murray and Wes Anderson, or the Curmudgeon as Muse
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    Chapter 11 Life on Mars or Life on the Sea: Seu Jorge, David Bowie, and the Musical World in Wes Anderson’s The Life Aquatic with Steve Zissou
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    Chapter 12 The Andersonian, the Quirky, and “Innocence”
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    Chapter 13 “I Always Wanted to Be a Tenenbaum”: Class Mobility as Neoliberal Fantasy in Wes Anderson’s The Royal Tenenbaums
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    Chapter 14 Objects/Desire/Oedipus: Wes Anderson as Late-Capitalist Auteur
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    Chapter 15 Systems Thinking in The Life Aquatic with Steve Zissou and Moonrise Kingdom
Attention for Chapter 13: “I Always Wanted to Be a Tenenbaum”: Class Mobility as Neoliberal Fantasy in Wes Anderson’s The Royal Tenenbaums
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Chapter title
“I Always Wanted to Be a Tenenbaum”: Class Mobility as Neoliberal Fantasy in Wes Anderson’s The Royal Tenenbaums
Chapter number 13
Book title
The Films of Wes Anderson
Published by
Palgrave Macmillan, New York, January 2014
DOI 10.1057/9781137403124_13
Book ISBNs
978-1-349-48692-2, 978-1-137-40312-4
Authors

Jen Hedler Phillis

View on publisher site

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