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Wes Anderson’s The Grand Budapest Hotel tells a story about a ski chalet in the fictional Republic of Zubrowka–but the film features a story within a story, which raises broader questions about both the necessity of narratives and their shortcomings in the construction of national identity. Anderson’s characters both rely on and challenge the ways identity is constructed through narrative. Using all three of your readings, craft an essay of at least 3 substantive paragraphs that makes a case as to if we should consider The Grand Budapest Hotel a postmodern form of national cinema. How does Anderson’s distinctive style craft the world of the film? What forms of national pride or history are deployed by the film’s narrative frame? Would we consider this film postmodern? Why/Why not? 3 attachmentsSlide 1 of 3
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564 THE FILM ARTIST so often. The only possible exception to this rule I can think o f is Abel Gan�e, whose greatness is largely a function of his aspiration. Even with Gance, � Roue 1s as close to being a great film as any single work of Flaherty. s; �ot that s1�g�e works matter that much.As Renoir has observed, a director spends his life on vanations of the same film. . . . ‘I\vo recent films-Boccaccio ’70 and The Seven Capital Sins-unw1ttmgly rem� forced the auteur theory by confinning the relative standing of the many directo�s involved. Ifl had not seen either film, I would have anticipated that the order of ment in Boccaccio ’70 would be Visconti, Fellini, and De Sica, and in The Seven Capital Sins Godard, Chabrol, Demy, Vadim, De Broca, Molinaro. (Dhomme, Ionesco’s stage director and an unknown quantity in advance, turned out
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