{"id":109,"date":"2023-09-06T06:36:35","date_gmt":"2023-09-06T06:36:35","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/?p=109"},"modified":"2023-09-06T06:40:44","modified_gmt":"2023-09-06T06:40:44","slug":"searcher-after-watching-the-grand-budapest-hotelweek-3-blog","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/2023\/09\/06\/searcher-after-watching-the-grand-budapest-hotelweek-3-blog\/","title":{"rendered":"Searcher-The Grand Budapest Hotel and its color aesthetics(week 3 blog)"},"content":{"rendered":"\n<p>From my perspective, the subject matter of The Grand Budapest Hotel is too serious and heavy, especially in such a serious and historical context of conflict and pain in medieval Europe. However, the use of cameras and rich color aesthetics dissolve the various kinds of disorder(wars, bloodiness, violence, repetitive murder&#8230;), and all the cold exterior eventually magically ends up in a way of a warm and tender beauty.<\/p>\n\n\n\n<p>The images are rendered in large pastel colors, giving an exclusive feel of the old European era. Monochromatic screen design is used very frequently with lavish red and pink decorating the interior of the hotel, which according to the reading we did, \u201cwarm color attracts attention\u201d, along with elaborate details bringing a visual feast directly to the audience.<\/p>\n\n\n\n<p>The colors are bright and full, and the composition is neat and tidy with plenty of symmetry displayed, giving a feeling of both solemnity and comicality.The construction of different symmetrical scenes(the hotel outer appearance, the hotel lobby, the train that goes across the bridge, even the scene when guards come to arrest Zero and M. Gustave on the train) all serves to display a sense of uniformity and grotesquely conservative style, which applies to depict the setting of medieval Europe as well as its brilliant arts and humanistic feelings.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Grand Budapest Hotel Color Analysis | Wes Anderson Color &amp; Storytelling\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/XFKkk_JvQR8?start=271&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>After research, I found this Youtube video talking about the use of color palettes by the director Wes Anderson. It splits the film\u2019s general color tone through 4 different essential timelines: 1932, 1968, 1985, and a later time inside the graveyard. The video detailly analyzed the use and shift of color tone under different circumstances, from pink and purple and white to orange and dark brown, to indicate the fading glory as well as to reveal that the hotel itself is functioning as a shelter for the rich and the outside world is filled with cruelty, which exposes the reality of continuous war. It also explains that color selection can depict not only settings but also characters\u2019 personalities and social roles. These in total serve as a great tool that help the filmmaker reach the theme of the film by exposing brutal reality in a beautiful and less intense way.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>From my perspective, the subject matter of The Grand Budapest Hotel is too serious and heavy, especially in such a serious and historical context of conflict and pain in medieval Europe. However, the use of cameras and rich color aesthetics dissolve the various kinds of disorder(wars, bloodiness, violence, repetitive murder&#8230;), and all the cold exterior [&hellip;]<\/p>\n","protected":false},"author":8673,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":["post-109","post","type-post","status-publish","format-standard","hentry","category-searcher"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts\/109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/users\/8673"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/comments?post=109"}],"version-history":[{"count":2,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts\/109\/revisions"}],"predecessor-version":[{"id":112,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/posts\/109\/revisions\/112"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/media?parent=109"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/categories?post=109"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2023\/wp-json\/wp\/v2\/tags?post=109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}