Browsing by Subject "Wes Anderson"
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Item Restricted Color, Light, Movement : an Analysis of Applied Design Principles in Contemporary Film(2023) Mariana Ortiz Gonzalez; Amann, Denise; Catak, Güven; Faculty of Architecture and Design; Berlin International University of Applied SciencesAI-GENERATED ABSTRACT: Abstract: The integration of graphic design principles into the realm of film cinematography offers a nuanced approach to visual storytelling. This thesis aims to explore this multidisciplinary intersection, focusing on the works of renowned directors Wes Anderson and Spike Jonze. The research delves into the specific roles and methods employed by graphic designers in contemporary films, analyzing the elements according to a developed methodology. By examining both digital and analog techniques, this study seeks to serve as a comprehensive guide for aspiring graphic designers interested in the film industry. The thesis also addresses the ongoing debate about whether graphic design is an art form or a functional solution to a problem, and how its role in cinematography has evolved over the years, especially since its official recognition in the 1980s. Overall, this research underscores the vital contribution of graphic design in enhancing the emotive power and visual language of a film. Keywords: Graphic Design, Cinematography, Visual Storytelling, Wes Anderson, Spike Jonze, Film Industry, Contemporary Film, Analog Techniques, Digital Techniques, Functional ArtPublication Restricted Interior Design and Atmosphere Creation in Wes Anderson Films(2025) Gizem Tüzün; Prof. Javier Martin; Dr. Daniel Martin; Interior Architecture/Interior Design (MA) (Two-Year); Berlin International University of Applied SciencesThis thesis investigates how interior design constructs cinematic atmosphere in Wes Anderson’s films and how this language can be applied to real-life interiors. Atmosphere is considered as the interaction of material, surface, and light. The method is qualitative, interpretive, and comparative; the theoretical framework draws on Giuliana Bruno’s emotional/inner mapping and Juhani Pallasmaa’s concepts of haptic imagery and lived space. The data for the study consists of selected interior-focused scenes from Anderson’s films and relevant literature. The analysis is conducted in two stages: in the first stage, materials, color, texture, lighting, threshold, and circulation patterns are compared within the films; in the second stage, recurring “atmospheric codes” across the films are extracted and transformed into a framework of design principles. This framework is tested at the room scale in Ceceyan Han, where office interiors with diverse atmospheres are created while preserving the historical shell. The findings demonstrate that interiors function as narrative actors and that surface-light pairings reliably modulate affect. The thesis presents a systematic, testable and reusable framework of design principles that transcends visual simulation and transfers film-based atmospheric generation to interior design.