Failed Comportment and Fits of Discomposure in the Films of Wes Anderson

Abstract

This essay examines the conflict between affective governance and fits of discomposure in Wes Anderson’s films. The urge for composure comes from other characters, from the habitus of their subcultures, and often from the inadequacy of language to convey unresolved feelings. As exemplified in The Grand Budapest Hotel, the struggle for composure helps Anderson clarify a vision of agency that moves beyond the performance of comportment and the fear of releasing what hides beneath it.

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