Works Cited
- Anderson, Wes, O. Wilson, and J. Schwartzman. 1999. “Audio Commentary.” In Rushmore. [Blu-ray]. Directed by Wes Anderson. British edition, The Criterion Collection, 2018 (American Empirical Pictures, Touchstone Pictures, 1998).
- Anderson, Wes. 2002. “Audio Commentary.” In The Royal Tenenbaums. [Blu-ray]. Directed by Wes Anderson. British edition, The Criterion Collection, 2016 (Touchstone Pictures, American Empirical Pictures, 2002).
- Anderson, Wes. 2014. The Grand Budapest Hotel. New York, NY: Opus.
- Baschiera, S. 2012. “Nostalgically Man Dwells on This Earth: Objects and Domestic Space in the Royal Tenenbaums and the Darjeeling Ltd.” New Review of Film and Television Studies 10 (1): 118–131. doi:10.1080/17400309.2011.633030.
- Bordwell, D., K. Thompson, and J. Smith. 2019. Film Art: An Introduction. 12th ed. International Student Edition. New York, NY: McGraw Hill.
- Boschi, E., and T. McNelis. 2012. “ “Same Old Song”: On Audio-Visual Style in the Films of Wes Anderson.” New Review of Film and Television Studies 10 (1): 28–45. doi:10.1080/17400309.2012.631174.
- Bosley, R. K. 2018. “Animal Kingdom.” American Cinematographer 99 (4): 50–67.
- Brinkema, E. 2021. “Colors without Bodies: Wes Anderson’s Drab Ethics.” In Practical Aesthetics, edited by B. Herzogenrath, 73–82. London: Bloomsbury.
- Bruchansky, C. 2010. The Heterotopia of Disney World. Philosophy Now 77: 15–17. Available at: https://philosophynow.org/issues/77/The_Heterotopia_of_Disney_World.
- Carstensen, T., and T. Stachel. 2010. “Ein Erwachsener Und Ein Kind. Ausbruchsfantasien im Kino Wes Andersons.” In This is an Adventure! Das Universum Des Wes Anderson, edited by C. Vittrup, 44–70. Kiel: Verlag Ludwig.
- Casetti, F., and F. Di Chio. 1994. Cómo Analizar Un Film. 1st Reprint. Barcelona: Paidós.
- de la Prida, R. 2021. “Mise-En-Abyme as Narrative Strategy in the Films of Wes Anderson.” Quarterly Review of Film and Video 39 (8): 1767–1786. doi:10.1080/10509208.2021.1967682.
- Foucault, M., and J. Miscowiec. 1986. “Of Other Spaces.” Diacritics 16 (1 Spring): 22–27. doi:10.2307/464648.
- Genette, G. 1989. Figuras III. Barcelona: Lumen.
- Gooch, J. 2007. “Making a Go of It: Paternity and Prohibition in the Films of Wes Anderson.” Cinema Journal 47 (1): 26–48. doi:10.1353/cj.2007.0050.
- Isola, M. 1996. “Wes Anderson/Owen Wilson, with Maria Isola.” Index Magazine. Accessed July 19, 2022. http://www.indexmagazine.com/interviews/wes_owen_anderson.shtml
- Phillis, J. H. 2014. ““I Always Wanted to Be a Tenenbaum”: Class Mobility as Neoliberal Fantasy in Wes Anderson’s the Royal Tenenbaums.” In The Films of Wes Anderson: Critical Essays on an Indiewood Icon, edited by P. C. Kunze, 171–180. New York, NY: Palgrave Macmillan. doi:10.1057/9781137403124.
- Rosenbaum, J. 1999. “In a World of His Own [on RUSHMORE].” jonathanrosenbaum.net. Accessed July 19, 2022. https://jonathanrosenbaum.net/2021/04/in-a-world-of-his-own/
- Rybin, S. 2014. “The Jellyfish and the Moonlight: Imagining the Family in Wes Anderson’s Films.” In The Films of Wes Anderson: Critical Essays on an Indiewood Icon, edited by P. C. Kunze, 39–49. New York, NY: Palgrave Macmillan. doi:10.1057/9781137403124.
- Seitz, M. Z. 2015. The Wes Anderson Collection – The Grand Budapest Hotel. New York, NY: Abrams.
- Sloane, P. 2018. “Kinetic Iconography: Wes Anderson, Sergei Parajanov, and the Illusion of Motion.” Texas Studies in Literature and Language 60 (2): 246–268. doi:10.7560/tsll60208.
- Specter, M. 2009. The Making of Fantastic Mr. Fox. New York, NY: Rizzoli nc.
- Tyree, J. M. 2013. “Unsafe Houses: Moonrise Kingdom and Wes Anderson’s Conflicted Comedies of Escape.” Film Quarterly 66 (4): 23–27. doi:10.1525/FQ.2013.66.4.23.
- Weedon, P. 2016. “Mark Mothersbaugh on Shaping Wes Anderson’s Sound.” lwlies.com. Accessed July 19, 2022. https://lwlies.com/articles/mark-mothersbaugh-on-working-with-wes-anderson/