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The Films of Wes Anderson

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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
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