Moonrise Kingdom
This section is an analysis of the film Moonrise Kingdom by Wes Anderson. I am analysing this film as a typical romantic comedy genre. Moonrise Kingdom interested me particularly because whilst it illustrates a typical romantic comedy genre narrative, however the fact that it is an independent film meant that the narrative was shown through an interesting way untypical of a Hollywood romantic comedy. I will analyse the media language of the mise en scene, sound, editing and cinematography through the same clip found on YouTube. I will then evaluate the film's institutions, genre, representation, audience, narrative and ideology.
media language
This section contains my analysis of the media language used by Wes Anderson in Moonrise Kingdom, including the mise en scene, sound, editing and cinematography.
mise en scene
(My chosen clip of analysis for the media language section of Moonrise Kingdom)
The mise en scene essentially translates into 'everything within the frame'. I aim to illustrate what connotations the mise en scene can relate back to the audience about the film Moonrise Kingdom. I will do this by analysing the mise en scene in a specific clip that I have taken of the film.
The mise en scene in this clip tells the audience a lot about the story line of Moonrise Kingdom itself.
To begin with the location of this scene is a beach, however unlike typical Hollywood portrayals of a beach it is not sunny and beautiful. The sand is dirty and it is a foggy day. The isolation of the characters is obvious as there seems to be no sign of civilisation anywhere. The mountains behind then point in towards the center of the shot, framing the characters and not allowing any distraction. The props of a lantern and suitcase also pen in the characters. The water behind the characters is soothing however it also seems to represent the boys sexual arousal as it becomes more obvious as the scene progresses.
The lighting is important in this scene, it is completely natural and is realistic of the weather in the background of the scene. The darkness that the grey sky projects onto the scene conveys a completely different message than usual romantic comedies do. The typical genre conventions would show a beautiful sunny day where the weather works as a pathetic fallacy for the characters relationship. However in this scene the dynamic has changed as the lighting communicates a different message to the audience. The grey darkness reflects the conflict of the audience as they watch two children who have run away from home share an intimate moment.
The mise en scene in this clip tells the audience a lot about the story line of Moonrise Kingdom itself.
To begin with the location of this scene is a beach, however unlike typical Hollywood portrayals of a beach it is not sunny and beautiful. The sand is dirty and it is a foggy day. The isolation of the characters is obvious as there seems to be no sign of civilisation anywhere. The mountains behind then point in towards the center of the shot, framing the characters and not allowing any distraction. The props of a lantern and suitcase also pen in the characters. The water behind the characters is soothing however it also seems to represent the boys sexual arousal as it becomes more obvious as the scene progresses.
The lighting is important in this scene, it is completely natural and is realistic of the weather in the background of the scene. The darkness that the grey sky projects onto the scene conveys a completely different message than usual romantic comedies do. The typical genre conventions would show a beautiful sunny day where the weather works as a pathetic fallacy for the characters relationship. However in this scene the dynamic has changed as the lighting communicates a different message to the audience. The grey darkness reflects the conflict of the audience as they watch two children who have run away from home share an intimate moment.
(A screen capture from the chosen clip from Moonrise Kingdom, the unconventional age of both the protagonists shines through in a scene like this)
The character choice is vital to understanding how this romantic comedy differs so greatly from traditional films of the same genre. The characters are very young and have been put in a adult situation of being independent and in a romantic relationship. This deviates heavily from the traditional twenty something couple trying to survive in a modern western society.
The costume in the mise en scene of this clip illustrates many messages to the audience. The girl is dressed in oversize underwear, a hint again to a youth being forced into adult characteristics. It is important to note her hair and make up. She has heavy blue eye shadow on her eyelids, and blusher on her cheeks. This mask not only illustrates again the difference between childhood and adulthood but it also makes the audience have doubt for her character. She instantly become untrustworthy as she appears to be hiding something. Her hair is dyed to be a darker red than natural and she has flower clips in her hair. In contrast to her hair being pulled back, which exposes more of her face, which should in turn make her more trustworthy it does the opposite. It is clear that she is trying to give off an aura of maturity, whereas it turns out to make her look deceitful and dishonest. The boy on the other hand is the typical picture of a young boy on the cusp of being a teenager. His glasses, scout shirt and baggy Y-fronts, give the air of pure innocence and awkwardness, allowing the audience to naturally warm to him and sympathise with. In the case of both characters the costume shows the audience that the characters are failing to achieve their goals, and this subverts the normal romantic comedy genre.
The costume in the mise en scene of this clip illustrates many messages to the audience. The girl is dressed in oversize underwear, a hint again to a youth being forced into adult characteristics. It is important to note her hair and make up. She has heavy blue eye shadow on her eyelids, and blusher on her cheeks. This mask not only illustrates again the difference between childhood and adulthood but it also makes the audience have doubt for her character. She instantly become untrustworthy as she appears to be hiding something. Her hair is dyed to be a darker red than natural and she has flower clips in her hair. In contrast to her hair being pulled back, which exposes more of her face, which should in turn make her more trustworthy it does the opposite. It is clear that she is trying to give off an aura of maturity, whereas it turns out to make her look deceitful and dishonest. The boy on the other hand is the typical picture of a young boy on the cusp of being a teenager. His glasses, scout shirt and baggy Y-fronts, give the air of pure innocence and awkwardness, allowing the audience to naturally warm to him and sympathise with. In the case of both characters the costume shows the audience that the characters are failing to achieve their goals, and this subverts the normal romantic comedy genre.
I have taken inspiration from a few elements of the mise en scene in Moonrise Kingdom. Firstly I want to keep natural lighting throughout my film as I believe it highlights the realism of an unrealistic situation. Aspects such as props and set having a clear message to the audience by telling them parts of the story became very interesting to me as I realised my storyline is a difficult one to communicate to an audience within the time limit of five minutes, so I would be relaying on the set and props to show part that could not be directly told to the audience through the dialogue.
sound
(My chosen clip of analysis for the media language section of Moonrise Kingdom)
In this section I will analyse the sound used in the clip above from the film Moonrise Kingdom by Wes Anderson. I will do this by going into detail about the sounds used and what these have connotations with in the film.
Sound is either digetic heard within the frame by the characters or non digetic, heard outside the frame by the audience and not by actors. Sound can be used to highlight emotions or communicate a certain message in a scene.
In this clip the sound is minimal in range and entirely digetic. The clips begins with Suzy turning on Françoise Hardy - Le Temps de l'Amour. The use of lesser known musicians from a different time period is a characteristic of Anderson and adds a certain independent flare to what is seen as one of the most traditional 'romantic comedy' scenes. The use of a foreign song, specifically French, highlights the romance in the scene but also the desire the characters have to be considered mature and independent from the adults in their life. It is also interesting to note that most romantic comedies use non diegetic music during a 'kiss scene' as it positions the audience into feeling heightened emotions, and as the characters are usually in a picturesque location, music would be unnatural to the scene itself.
Sound is either digetic heard within the frame by the characters or non digetic, heard outside the frame by the audience and not by actors. Sound can be used to highlight emotions or communicate a certain message in a scene.
In this clip the sound is minimal in range and entirely digetic. The clips begins with Suzy turning on Françoise Hardy - Le Temps de l'Amour. The use of lesser known musicians from a different time period is a characteristic of Anderson and adds a certain independent flare to what is seen as one of the most traditional 'romantic comedy' scenes. The use of a foreign song, specifically French, highlights the romance in the scene but also the desire the characters have to be considered mature and independent from the adults in their life. It is also interesting to note that most romantic comedies use non diegetic music during a 'kiss scene' as it positions the audience into feeling heightened emotions, and as the characters are usually in a picturesque location, music would be unnatural to the scene itself.
(A screen capture from the chosen clip from Moonrise Kingdom, illustrating the old fashion record player with the Françoise Hardy - Le Temps de l'Amour record)
Another aspect of sound worth noting is the diegetic background noise. This background noise is naturalistic and is formed of the sea lapping against the sand. This firstly highlights the realism of this scene as the background noise is natural. It also plays a smaller role in building tension within the scene. When one analyses the sound carefully you can notice the waves become slightly louder and more frequent as the protagonist Sam becomes more 'excited'. This subtle effect that Anderson has used creates a dramatic layer to the scene and sways the audience to become more engrossed in the action.
Lastly the dialogue is minimal, keeping focus on the scene, this is an interesting technique as once again Anderson has heightened the audiences awareness of how young and slightly awkward these two characters are. There is a discomfort about the exchange and by using basic sound and keeping the theme natural, the audience does not get as wrapped up in the romance that is so typical of a romantic comedy genre film.
Lastly the dialogue is minimal, keeping focus on the scene, this is an interesting technique as once again Anderson has heightened the audiences awareness of how young and slightly awkward these two characters are. There is a discomfort about the exchange and by using basic sound and keeping the theme natural, the audience does not get as wrapped up in the romance that is so typical of a romantic comedy genre film.
The sound used in Moonrise Kingdom is mainly digetic and I am taking inspiration from this in my own film as I feel it highlights a realism aspect to a storyline that isn't necessarily 'realistic' such as mine. I also enjoyed the use of music that one wouldn't hear everyday, for instance foreign music or older music. I have been researching into The Beach Boys 'Wouldn't It Be Nice' because of this.
editing
(My chosen clip of analysis for the media language section of Moonrise Kingdom)
In this section I aim to study the editing in the clip from Moonrise Kingdom. I will do this by anaylsing the editing conventions for a Romantic Comedy compared to this independent take on the genre film.
The editing in this scene is minimal, as the scene only comprieses of ten shots, majority of which last for over ten seconds. Therefore this means that the transitions between the cuts of shot are convential and mundane to keep the audiences attention focused on the narrative.
The editing in this scene is minimal, as the scene only comprieses of ten shots, majority of which last for over ten seconds. Therefore this means that the transitions between the cuts of shot are convential and mundane to keep the audiences attention focused on the narrative.
(A screen capture from the chosen clip from Moonrise Kingdom, illustrating the use of an over the shoulder shot)
However the cutting is important with shot reverse shot as the dialogue becomes more predominant There is of course the obvious eye-line and action match to maintain continuity. Continuity is a clear choice and reflection of influences for Wes Anderson as a director. This kind of editing is important in a film as it presents the audience with a reality that they can understand. The typical action reaction influences from a Hollywood studio system Romantic Comedy are obvious from Wes Anderson in the editing of this clip.
Moonrise Kingdoms editing style has influenced me greatly. I am aiming to be able to portray a very similar style when creating my final product. The minimal, simple editing keeps the audience focused entirely on the narrative and this is the exact effect I want in my film. Whilst doing this the understated editing also adds an odd undercurrent to the film as it is not seen often in studio system films.
cinematography
(My chosen clip of analysis for the media language section of Moonrise Kingdom)
In this section I aim to evaluate the cinematography in the clip of Moonrise Kingdom, specifically analysing the camera angle, movement, shot and composition. I will do this by studying the clip above and comparing
This scene comprises of ten shots all in all ranging from long shots to close ups. With the first shot as a long shot lasting 40 seconds the audience is given an unusual extended time frame to understand the shot. Wes Anderson clearly has taken inspiration from the independent film industry as the time length of shots in a traditional Hollywood rom-com is 5.4 seconds, Anderson is going beyond this limitation and therefore forcing the audience to notice the meaning of this shot.
This scene comprises of ten shots all in all ranging from long shots to close ups. With the first shot as a long shot lasting 40 seconds the audience is given an unusual extended time frame to understand the shot. Wes Anderson clearly has taken inspiration from the independent film industry as the time length of shots in a traditional Hollywood rom-com is 5.4 seconds, Anderson is going beyond this limitation and therefore forcing the audience to notice the meaning of this shot.
(A screen capture from the chosen clip from Moonrise Kingdom, illustrating the use of a long time period shot)
By extending the time period the shot is in the audience becomes uncomfortable in the sense of this being unusual therefore they begin to notice things in the shot more, for instance the setting and the costumes of the actors. It highlights aspects of the two main characters, in particular their age, further as the amount of time spent watching the same shot triggers the audience to pay attention to this.
The movement of the camera in this scene is mainly a steadicam, as the shots aim to frame the scene without any distraction from the movement. However there are a few moments where it is clear the camera is on a dolly as it moves closer to the young couple before they kiss. Anderson has made the choice to limit the amount of camera movement in this scene in order again to highlight other aspects of the scene, for instance the characters and the dialogue exchanged between them. This conforms to the traditional Hollywood rom-com cinematography as the focus is always the narrative and the characters. Cameras are rarely used in a studio system rom-com to illustrate anything other than the platform for the storyline.
The movement of the camera in this scene is mainly a steadicam, as the shots aim to frame the scene without any distraction from the movement. However there are a few moments where it is clear the camera is on a dolly as it moves closer to the young couple before they kiss. Anderson has made the choice to limit the amount of camera movement in this scene in order again to highlight other aspects of the scene, for instance the characters and the dialogue exchanged between them. This conforms to the traditional Hollywood rom-com cinematography as the focus is always the narrative and the characters. Cameras are rarely used in a studio system rom-com to illustrate anything other than the platform for the storyline.
I have been inspired by the cinematography in Moonrise Kingdom mainly through the use of long shot. This device centres the audiences attention on the mise en scene which will be very important in my film as it will hint to the audience more of the story line that can be shown through the dialogue.
institutions
In this section I will explain the institutions asscociated with Moonrise Kingdom and their importance to the film as a whole. I will do this by researching to the production, distributon and exchange of the film and which institutions were affliated throughout the process.
Moonrise Kingdom made in 2012, is a romantic comedy written and directed by Wes Anderson. The studios used to back this film were American Empirical Pictures, Indian Paintbrush and Scott Rudin Productions. These production companies are key to the connotations of the film as an audience member Each production company is small and independent, one being owned by Wes Anderson himself. This makes the production of the film different.
Moonrise Kingdom made in 2012, is a romantic comedy written and directed by Wes Anderson. The studios used to back this film were American Empirical Pictures, Indian Paintbrush and Scott Rudin Productions. These production companies are key to the connotations of the film as an audience member Each production company is small and independent, one being owned by Wes Anderson himself. This makes the production of the film different.
(The director, Wes Anderson)
Working with a limited budget of $16 million, with the combined effort of three separate production houses, gives this film a unique edge. The three companies would have to had join forces in order to support Anderson's vision financially.
It was distributed by Focus Features and released at the Cannes Film Festival. Again these two factors lead the audience to the conclusion that this film has an independent twist on a traditionally Hollywood genre of Romantic Comedy. For example a run of the mill Romantic Comedy, like This Means War (2012) is produced by 20th Century Fox with a $65 million financial backing. This is stark contrast to Moonrise Kingdom as it tackles the genre film with much less money and less recognition in brand.
It was distributed by Focus Features and released at the Cannes Film Festival. Again these two factors lead the audience to the conclusion that this film has an independent twist on a traditionally Hollywood genre of Romantic Comedy. For example a run of the mill Romantic Comedy, like This Means War (2012) is produced by 20th Century Fox with a $65 million financial backing. This is stark contrast to Moonrise Kingdom as it tackles the genre film with much less money and less recognition in brand.
I have taken inspiration from Moonrise Kingdoms institution's as it is a independently funded and distributed. This is my key target if my film was to be put into full production as I feel it is the kind of companies that should be representing a art house film. It also brings with it a niche audience that I am aiming for with my film.
genre
This section aims to illustrate how Moonrise Kingdom conforms and deviates from the genre conventions of romantic comedy. This will be evaluated through a clip and research into its compatibility with other rom-com films of the time period. Genre is defined as a category of artistic composition. Moonrise Kingdom is a romantic-comedy film with a dramatic twist. The typical genre conventions of a romantic comedy are:
Moonrise Kingdom follows many of these genre conventions. As it is based around two children on the brink of their teenage years, discovering what it means to be independent and how difficult the first feelings of love can be. Overall through script and characterisation the genre of romantic comedy is communicated to the audience.
- Typically 'boy meets girl' plot.
- A happily ever after ending.
- Narrative usually consists of two characters falling in love.
- Obstacles are encountered.
- A predictable narrative.
- Famous actors/actresses. Usually good looking.
- Main characters are likable/relatable. This is usually achived through comedy.
Moonrise Kingdom follows many of these genre conventions. As it is based around two children on the brink of their teenage years, discovering what it means to be independent and how difficult the first feelings of love can be. Overall through script and characterisation the genre of romantic comedy is communicated to the audience.
(A few examples of romantic comedy genre film posters)
(A clip from Moonrise Kingdom that illustrate genre conventions of a niche romantic comedy)
However there is a slight independent twist on the genre as it clearly appeals to a slightly minority audience, despite earning over $65 million in the box office. As a author Wes Anderson is well established as a independent film maker, with his only major critical success as 'Fantastic Mr Fox' in 2009. Anderson's films are always going to draw in a niche independent audience, as shown by past films like 'Rushmore' and 'Bottle Rocket'. He is distinct mainly through his style of film making. For instance, the methodical cinematography, primary colours and soundtracks, which mainly focuses on British rock and folk.
This clip illustrates the typical genre conventions of a niche romantic comedy. The emphasis is placed on the awkwardness of the situation. Not only expressed through the media language of actor choice and costume. It is also communicated through the likablity of the characters, they become instantaneously relatable as everyone can identify with at least one awkward moment when puberty began. The awkward situation is typical of the romantic comedy genre, as also seen in a film such as Nick and Nora's Infinite Playlist or Juno. The audience can physically see the romance in the first kiss that the two main characters share. Yet once again the humour is instantly brought back by the spit at the end of the scene.
This clip illustrates the typical genre conventions of a niche romantic comedy. The emphasis is placed on the awkwardness of the situation. Not only expressed through the media language of actor choice and costume. It is also communicated through the likablity of the characters, they become instantaneously relatable as everyone can identify with at least one awkward moment when puberty began. The awkward situation is typical of the romantic comedy genre, as also seen in a film such as Nick and Nora's Infinite Playlist or Juno. The audience can physically see the romance in the first kiss that the two main characters share. Yet once again the humour is instantly brought back by the spit at the end of the scene.
(A screen capture of the two protagonists, it is clear to see they are much younger than typical romantic comedy protagonists)
The clip also illustrates the deviations from the typical conventions of rom-com through the uncomfortable choice of actors for these roles. There is no doubt that Anderson chose to communicate his romantic comedy through the innocent eyes of children. However as an audience member it instantenously positions you to be conflicted. As in traditional rom-coms one is rooting for the couple to make it through all the obstacles and have their happy ending.
However with Moonrise Kingdom it presents the prospect of two children running away from home, away from safety and security. Along with the constant confusion and discovery that growing up entails, when faced with the opposite sex. This leaves the viewer conflicted by the contrast of the themes of the film and the moral and ethical views that a typical audience member holds in the 21st century on child sexualisation.
However with Moonrise Kingdom it presents the prospect of two children running away from home, away from safety and security. Along with the constant confusion and discovery that growing up entails, when faced with the opposite sex. This leaves the viewer conflicted by the contrast of the themes of the film and the moral and ethical views that a typical audience member holds in the 21st century on child sexualisation.
I have been inspired by the genre in Moonrise Kingdom by the sincerity of the love between the two protagonists. Regardless of their age the genre of romantic comedy still shines through the film as a whole and this is similar to what I hope to achieve in my film. I want the genre to still be prevalent even considering the 'madness' of the storyline.
representation
In this section I will focus mainly on the representation of children in adult situations that Wes Anderson presents to the audience in the film Moonrise Kingdom. I will do this by analysing the two main characters Sam and Suzy and the narrative that allows them to evolve into representations that can have both negative and positive connotations within them.
The concept of youth is an interesting one in Moonrise Kingdom. Unusually for a romantic comedy the two protagonists are on the presipise of puberty and are represented by the adults in this film as too young to understand or fall into love. The constant oppression of the two young lovers by the adults in their lives leads the audience to sympathies further with Sam and Suzy. Along with the oppression from the older generation there is the contrasting view of the young lovers. The audiences is granted access to their peculiar untarnished, different love, that only seems possible through the imagination of a young optimistic mind.
The concept of youth is an interesting one in Moonrise Kingdom. Unusually for a romantic comedy the two protagonists are on the presipise of puberty and are represented by the adults in this film as too young to understand or fall into love. The constant oppression of the two young lovers by the adults in their lives leads the audience to sympathies further with Sam and Suzy. Along with the oppression from the older generation there is the contrasting view of the young lovers. The audiences is granted access to their peculiar untarnished, different love, that only seems possible through the imagination of a young optimistic mind.
(A screen capture of the two protagonists, the difference between them and the adults portrayed in the film is extremely obvious)
They are seen by the audience as so wonderfully innocent that the worry that the adults in the film about harm, fades and one can see the tranquillity and purity in their devotion to each other. Therefore rendering the representation of age in favour of the younger generation as they illustrate the freedom of love contrasting the dysfunctional real loves the adults share, for example Walt and Laura's marriage.
This warped representation of love in a younger generation was more likely to appear in an independent film, rather than a mainstream Hollywood rom-com as it pushes boundaries of what is deemed acceptable in love. The genre is constantly represented in the media language and the independent flare that Moonrise Kingdom gives to this story means that the representation of love in a younger generation is turned slightly so the audience never truly feel uncomfortable in it.
Overall love and age work together in Moonrise Kingdom and give the audience a warped view, basically projecting that true, untarnished love can happen when you are young and unbroken by the world around you.
This warped representation of love in a younger generation was more likely to appear in an independent film, rather than a mainstream Hollywood rom-com as it pushes boundaries of what is deemed acceptable in love. The genre is constantly represented in the media language and the independent flare that Moonrise Kingdom gives to this story means that the representation of love in a younger generation is turned slightly so the audience never truly feel uncomfortable in it.
Overall love and age work together in Moonrise Kingdom and give the audience a warped view, basically projecting that true, untarnished love can happen when you are young and unbroken by the world around you.
I have been influenced by the representation of Moonrise Kingdom mainly through the relationship of the two protagonists. The chemistry between them is never doubted as truthful regardless of certain feelings about their age and capacity for love. I need to establish this kind of relationship of affection and normality between my couple before the introduction of the ex girlfriend character. This means the audience understands the dynamic of their relationship at such a difficult time.
audience
In this section I aim to illustrate the typical audience that Moonrise Kingdom would attract and why that is important to how the film was produced and distributed. I will do this by researching into the film as a whole and find critic views on the film.
The audience for Moonrise Kingdom is an interesting topic to evaluate. As it fits into the genre of romantic comedy, there is a certain audience that it should appeal to. This audience tends to be 18-35 women from a variety of backgrounds. However this film is an independently produced and distributed film, there is another audience that is associated with that. This audience ranges from 18-35 also yet it is more likely to be a middle class creative person, making the conscious decision to go to an independent film as an extension of their personality.
The audience for Moonrise Kingdom is an interesting topic to evaluate. As it fits into the genre of romantic comedy, there is a certain audience that it should appeal to. This audience tends to be 18-35 women from a variety of backgrounds. However this film is an independently produced and distributed film, there is another audience that is associated with that. This audience ranges from 18-35 also yet it is more likely to be a middle class creative person, making the conscious decision to go to an independent film as an extension of their personality.
(A screen capture of one of the famous actors used in this film, Edward Norton)
Combined with all these factors is the director, Wes Anderson, and his fan base. After having critical successes such as Fantastic Mr Fox, Anderson as an auteur has built up a solid loyal fan base. All of these components contribute to the audience that Anderson and his production team would have aimed at and expected to hit with the film.
Moonrise Kingdom received critical acclaim from many different film critics. For example Rotten Tomatoes gave the film a rating of 94% based on 174 reviews, with an average of 8.2/10. This indicates 'universal acclaim'.
The Guardians, Peter Bradshaw gave the film 3/5, quoted as saying "another sprightly confection of oddities, attractively eccentric, witty and strangely clothed."
Christopher Orr of The Atlantic wrote in his review that Moonrise Kingdom "captures the texture of childhood summers, the sense of having a limited amount of time in which to do unlimited things" and is "Anderson's best live-action feature" because "it takes as its primary subject matter odd, precocious children, rather than the damaged and dissatisfied adults they will one day become."
Moonrise Kingdom received critical acclaim from many different film critics. For example Rotten Tomatoes gave the film a rating of 94% based on 174 reviews, with an average of 8.2/10. This indicates 'universal acclaim'.
The Guardians, Peter Bradshaw gave the film 3/5, quoted as saying "another sprightly confection of oddities, attractively eccentric, witty and strangely clothed."
Christopher Orr of The Atlantic wrote in his review that Moonrise Kingdom "captures the texture of childhood summers, the sense of having a limited amount of time in which to do unlimited things" and is "Anderson's best live-action feature" because "it takes as its primary subject matter odd, precocious children, rather than the damaged and dissatisfied adults they will one day become."
(A screen capture of the protagonist, in one of the more comedic scenes)
Kristen M. Jones said that the film "has a spontaneity and yearning that lend an easy comic rhythm," but it also has a "rapt quality, as if we are viewing the events through Suzy's binoculars or reading the story under the covers by a flash-light."
The target audience as listed above is important for the narrative and representation throughout the film. The themes of Moonrise Kingdom would not relate to a great many audience categories , for example an action film audience would not find Moonrise Kingdom enjoyable. This means the target audience of 18-35 mixed gender audience group with an active interest in independent film are of high value to the film itself or else there would be no success.
The target audience as listed above is important for the narrative and representation throughout the film. The themes of Moonrise Kingdom would not relate to a great many audience categories , for example an action film audience would not find Moonrise Kingdom enjoyable. This means the target audience of 18-35 mixed gender audience group with an active interest in independent film are of high value to the film itself or else there would be no success.
Just as with Shaun of the Dead the audience that Moonrise Kingdom received is similar to my target audience, staying within the 18-25 age range of both male and female.
ideology
This section aims to illustrate how Moonrise Kingdom conforms and deviates from traditional Rom Com ideologies and how Wes Anderson does this. This will be done by analysing the film as a wholes effect on the audience and the characters themselves.
As an auteur Wes Anderson has some extrememly memorable and recognisable traits. A solid theme throughout most of his films is how a family is constructed. This can be seen in such works as The Fantastic Mr Fox.
Moonrise Kingdom, his latest and most accomplished work, is a unquie way of understanding family, through the eyes of children. This film is so very different to tradtional ideologies of studio system Rom-Coms. They usually portay a 'all is well in the end, love fights through it all'. However Wes Anderson decided to change his Rom-Com to something quite spectacularly different. A child's view on the world is untarnished by cynicism or the harsh realities, however their view points are just as, if not more so, important as any adult. The ablity to see love for the first time through a child's eyes is something forgotten to the majority of adults, the simplicity and directness of it is refreshing yet familar to the audience.
As an auteur Wes Anderson has some extrememly memorable and recognisable traits. A solid theme throughout most of his films is how a family is constructed. This can be seen in such works as The Fantastic Mr Fox.
Moonrise Kingdom, his latest and most accomplished work, is a unquie way of understanding family, through the eyes of children. This film is so very different to tradtional ideologies of studio system Rom-Coms. They usually portay a 'all is well in the end, love fights through it all'. However Wes Anderson decided to change his Rom-Com to something quite spectacularly different. A child's view on the world is untarnished by cynicism or the harsh realities, however their view points are just as, if not more so, important as any adult. The ablity to see love for the first time through a child's eyes is something forgotten to the majority of adults, the simplicity and directness of it is refreshing yet familar to the audience.
(A screen capture of the two protagonists, it is clear by the locations used in this film that there is an independent twist of a 'strange world' on a typical genre film)
Anderson creates this simple, easy childhood world again through his two main characters. By instantly illustrating them as outsiders, bored and lonely in their town they become instantly relatable and the audience becomes empathetic to them. The concept of an outsider is not new to the genre of rom-com as it is a large percentage of character choice in these films. The ideology communicated is that the other person gives the outsider a place in the world, for instance Knocked Up. However by making both characters awkward outsiders Anderson creates a new dynamic to the already complex relationship. The idea of love in this film is completely new to the audience and to the characters themselves. As pre-teenagers who hardly know each other Suzy and Sam scarcely understand the idea of love, however they are certain that what they have is it.
The love is made legitimate through the acceptance they each give to each other.
This is where the effect of Suzy and Sams relationship begins to have an impact on the adults of the film. Through them observing the truth and depth of Suzy and Sams feelings the adults begin to asses their own life choices in love. The realisation of the emptiness they each feel in their lonely existences forces them to change the way they work together. For example Suzy's parents work much harder at their marriage after seeing the bond between Suzy and Sam.
The love between Suzy and Sam is typical of the institution of independent cinema, it is strange and different, yet the audience supports it fully. A traditional rom-com would have the boundaries of age strictly to pass legality, yet Moonrise Kingdom defies these conventions and allows the audience to decide what they deem acceptable in a twist edge on a rom com
The love is made legitimate through the acceptance they each give to each other.
This is where the effect of Suzy and Sams relationship begins to have an impact on the adults of the film. Through them observing the truth and depth of Suzy and Sams feelings the adults begin to asses their own life choices in love. The realisation of the emptiness they each feel in their lonely existences forces them to change the way they work together. For example Suzy's parents work much harder at their marriage after seeing the bond between Suzy and Sam.
The love between Suzy and Sam is typical of the institution of independent cinema, it is strange and different, yet the audience supports it fully. A traditional rom-com would have the boundaries of age strictly to pass legality, yet Moonrise Kingdom defies these conventions and allows the audience to decide what they deem acceptable in a twist edge on a rom com
Moonrise Kingdoms ideology intrigued and inspired me. I was influenced by Anderson's ability to create some kind of 'new world', one where the love between Suzy and Sam is embraced by the nature and surroundings. I was interested in the effect this had on the audience as they are more like to sympathise with the protagonists in their happy world, ignorant to the people trying to stop them. This is an impression I would like to have on my audience, by drawing them in to the idea of the world as we know it being destroyed and having a chance to start again.
narrative
In this section I aim to communicate how Moonrise Kingdom directed and written by Wes Anderson, conforms and deviates from the traditional narrative conventions of romantic comedies. This will be illustrated using a clip as an example of the narrative outline. Also through researching into typical romantic comedies and how Moonrise Kingdom is similar and different.
Narrative is defined as the account of connected events. At its base it is how the storyline develops through the film and what that communicates to the audience about the whole film. Rom-com is a hybrid genre of the romance genre. The traditional 'love conquers all' narrative begins to show through however it is presented in a comic way. Rom-com narrative is traditionally shown in a three part structure- boy meets girl, for some reason there is an obstacle, they realise they are meant to be and will get back together.
Narrative is defined as the account of connected events. At its base it is how the storyline develops through the film and what that communicates to the audience about the whole film. Rom-com is a hybrid genre of the romance genre. The traditional 'love conquers all' narrative begins to show through however it is presented in a comic way. Rom-com narrative is traditionally shown in a three part structure- boy meets girl, for some reason there is an obstacle, they realise they are meant to be and will get back together.
(A screen capturer of one of the protagonists, illustrating the time period of 1965 through set, props and costume)
As a brief overview, Moonrise Kingdom is set on an island in North America, in summer 1965. It tells the story of the love between two twelve-year old's. Both run away from home together, as expected lots of separate forces of authority set out to find them. The island off New England peace is completely ruined by not only the storm brewing but also these two children.
From the simple outline one can infer that this a romantic comedy as it follows the story of two people in love as they over come a number of obstacles in order to be together. With $6 million behind it in the production, distribution and exhibition the budget is also reflective of it being a romantic comedy, which usually have bigger budgets as the attract the widest audience. The narrative follows the traditional conventions of romantic comdey, through its witty script and it follows the equilibrium- disequilibrium - equilibrium again.
From the simple outline one can infer that this a romantic comedy as it follows the story of two people in love as they over come a number of obstacles in order to be together. With $6 million behind it in the production, distribution and exhibition the budget is also reflective of it being a romantic comedy, which usually have bigger budgets as the attract the widest audience. The narrative follows the traditional conventions of romantic comdey, through its witty script and it follows the equilibrium- disequilibrium - equilibrium again.
(A clip from Moonrise Kingdoms introduction)
Anderson uses a cause and effect narrative which is typical of a independent film, usally taking inspirations from European cinema. This is a deviation from a traditional Hollywood narrative model as it is realistic but with a surrealist under tone. This can be seen in the opening prologue, see above. The surrealism of Moonrise Kingdom means that the audience experiences some of the traditional conventions of a rom com, such as the love story over coming obstacles, in a new exciting way.
I was influenced by the narrative of Moonrise Kingdom as it was a typical romantic comedy yet with this independent twist. I enjoyed this idea and I want to have the same effect with my film as I realise that I am combing a mainstream genre of comedy to something it isn't usually paired with (horror/apocalypse). I want a independent spin on this genre and Moonrise Kingdom inspired me to try to do that.