Une esthétique postmoderne : l’esprit kitsch dans The Grand Budapest Hotel (Wes Anderson, 2014)
What makes a movie kitsch? Does it correspond to an aesthetic intention? To a certain number of stylistic features: an assumed artificiality and extravagance, a taste for the recycling of clichés, numerous accumulations and repetitions? Or is kitsch primarily on the side of the spectator who has eit...
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| Format: | Article |
| Language: | English |
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Presses universitaires de Rennes
2017-09-01
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| Series: | Revue LISA |
| Subjects: | |
| Online Access: | https://journals.openedition.org/lisa/9044 |
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| Summary: | What makes a movie kitsch? Does it correspond to an aesthetic intention? To a certain number of stylistic features: an assumed artificiality and extravagance, a taste for the recycling of clichés, numerous accumulations and repetitions? Or is kitsch primarily on the side of the spectator who has either a taste for or a detestation of kitsch? Is it a matter of style or consideration? A matter of analysis of representations or of reception? Is the epithet always pejorative or can it be fully claimed? This article recalls some of the works to which the notion of kitsch gave rise in the fields of art history and cultural industries; it then addresses the questions raised by kitsch in cinema through the example of The Grand Budapest Hotel (Wes Anderson, 2014). Characteristic of a kitsch rhetoric, this example also makes it possible to question the criteria of judgment of taste employed by today’s spectators and to propose a typology of reception of more general scope. |
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| ISSN: | 1762-6153 |