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

Sloane, Peter (2018) Kinetic Iconography: Anderson, Parajanov, and the Illusion of Motion. Texas Studies in Literature and Language, 60 (2). pp. 246-268. ISSN 0040-4691

Full content URL: https://doi.org/10.7560/TSLL60208

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

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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.

Additional Information:This is a pre-copyedited version of an article accepted for publication in (journal title) following peer review. The definitive publisher-authenticated version is available through the University of Texas Press
Keywords:Wes Anderson, Sergei Parajanov, Russian Cinema, Independent Cinema
Subjects:P Mass Communications and Documentation > P303 Film studies
Divisions:College of Arts > School of English & Journalism > School of English & Journalism (Journalism)
ID Code:33358
Deposited On:22 Oct 2018 12:45

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