“Why’d They Write This in Letters Cut Out of Magazines?” An Investigation into the Impact that Graphic Props’ Meta-Language Has Upon Narrative in Wes Anderson’s Films.
Storytelling has always been an indispensable form of communication. Objects, though often seen as secondary to verbal articulation, play a significant role in providing realism or tangibility to a story. Commencing with the dramaturgy of Ancient Greek theatre, props have been used to enhance narration. In contemporary cinema, design is necessary for communicating higher levels of realism when world- building. While the success of communication has arguably been overanalysed in studies on graphic design, it has been largely ignored in formal discussions on graphic design in film. The director Wes Anderson is known as an auteur of stylised cinema using graphic props profusely in a way which is unique in the cinematic sphere. Through the close examination of his ten-film compendium, this paper sought to assess the depth of communication conveyed through the design and implementation of his props. This dissertation, through semiological scrutiny, investigated the role that a prop’s metalanguage serves in the function of the comprehension or progression of each film’s narrative. Confining the exploration to intra-diegetic props, which exist in the same plain with the films’ characters rather than post-production design additions, their role on their environment was assessed. The study concludes that Anderson utilises props for heightened characterisation and world-building; working to magnify the relationship his audience has with his stories, design is shown to be as much a tool for communication as the script.
This dissertation recieved a first grade. It could not have been done, however, without the help of some fantastic people.
Firstly, thank you to my dissertation supervisor Catherine Stones for overseeing all my revisions.
Secondly, Mark Pollard and Erica Dorn for patiently answering bizarre questions from me in their Instagram DMs! They have worked first-hand as graphic designers in Anderson’s films and provided invaluable BTS knowledge of their design processes.
Finally, Frances Bennett who has worked on a few of my favourite films such as Emma, Troy, and Shakespeare in Love, and has kindly given me invaluable information on the industry that provided the foundation for my research.
Thank you to all of the above for your enormous support!
Message me if you’d like to read the full paper.
