The following is a rough translation of an essay by Volker Pantenburg of the Kunst der Vermittlung project, on the fifth part of Matt Zoller Seitz' immense series of video essays, ”Wes Anderson: The Substance Of Style." I used Babelfish and Google Translation to stitch together the most coherent translation I could manage; by no means perfect but hopefully you'll get the idea:
You can watch the video being described by visiting the Moving Image Source
Matt Zoller Seitz, former film critic in print media such as the New York Times, moved at the beginning of 2006 to write blogs, especially on the site The House Next Door. Since 2008 he also published under the alias insomniacdad at youtube a partly annotated, partly uncommented montage (Berkeley (esque)), a video which is between film criticism and analysis.
Seitz' most comprehensive occupation with a producer - after a fourt-part series to Oliver Stone (1, 2, 3, 4) - is the five-part essay WES ANDERSON: THE SUBSTANCE OF STYLE (1, 2, 3,4, 5), which was published in March and April 2009 on the Museum of the Moving image website, also the producer of this and the Stone series. In The Art Of Bill Melendez (2008), an homage to the producer of the Peanuts films, Seitz had already connected Anderson’s film RUSHMORE with its surprising references to Melendez. In the five parts of the Anderson analysis there follows now more systematically the influences of other auteur styles on Anderson. The first four sequences are devoted to individual models (“Part 1 covers Bill Melendez, Orson Welles, and François Truffaut. Part 2 covers Martin Scorsese, Richard Lester, and Mike Nichols. Part 3 covers Hal Ashby. Part 4 covers J.D. Salinger. “)
Part 5 highlights already in the title of the previous parts. "The prologue to The Royal Tenenbaum, annotated," says the 6-minute sequence. Annotation is to be understood literally: Zoller Seitz writes in the images of the opening sequence of the film in exuberant abundance of commentaries, notes and analysis inside Notes, especially in the sober designated cases, this is Anderson's own practice in the caption ( "Caption") to. In addition, as a small picture-in-picture, moving or unmoving, parallel bodies in other film-historical reference films (CITIZEN KANE, about films of Hal Ashby and Bill Melendez). You can use this wealth impossible for a single passage through Zoller Seitz 'film exercise, which alone is already a reference to Wes Anderson playful love of detail and precision verortbaren way as the film emphasizes the concrete camera movement, the Zoller Seitz "emphatic dolly" is called. Zoller Seitz 'annotated version is based - in excess of ironic, but very serious item in their view - at the critical commentary, as they are in the book of classic media spending knows where the "apparatus" to the text length is often far in excess.
The effect of almost baroque richness comes off also by the fact that in all interventions and conveyances of the image two components are not touched: the temporality and the soundtrack of Anderson's film. Seitz adds to the film no Zeilupen, does not stop the picture and does not interfere with the conduct of a perfectionist exposure of infant-family. His annotations, passing in a clerical scurry, are best described with the American adjective "hilarious", informed by the result of a fascinated astonished, again and again the "rewind" button-pressing cinema enthusiasm. Repeat viewing for repeat viewers.