Kinetic Iconography: Wes Anderson, Sergei Parajanov, and the Illusion of Motion

Abstract

Wes Anderson and Georgian filmmaker Sergei Parajanov have a shared fascination with the intersection of literature and film and with the materiality of the printed page in relation to the film frame. In exploring this concern in The Royal Tenenbaums and Parajanov’s The Color of Pomengranates, this essay uncovers a common tension in their work between still and moving pictures, or stasis and kinesis, that is vital to distinguishing film as a medium.

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