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ReFocus: The Films of Michel Gondry$
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Marcelline Block and Jennifer Kirby

Print publication date: 2020

Print ISBN-13: 9781474456012

Published to Edinburgh Scholarship Online: May 2021

DOI: 10.3366/edinburgh/9781474456012.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 21 September 2021

The Cost of Whimsy in Mood Indigo and The Grand Budapest Hotel

The Cost of Whimsy in Mood Indigo and The Grand Budapest Hotel

Chapter:
(p.66) Chapter 4 The Cost of Whimsy in Mood Indigo and The Grand Budapest Hotel
Source:
ReFocus: The Films of Michel Gondry
Author(s):

Mica Hilson

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474456012.003.0005

Mica Hilson’s chapter employs a new formalist framework to compare the elements of “twee” and “whimsy” in Gondry’s Mood Indigo and contemporary auteur Wes Anderson’s The Grand Budapest Hotel (2014). This chapter argues that Gondry’s use of whimsical excess to self-reflexively address themes of over-consumption stands in opposition to Anderson’s The Grand Budapest Hotel. This chapter furthermore considers that the fetishization of luxury items in Anderson’s film contrasts with the do-it-yourself, craft aesthetic of Gondry’s work. This comparative chapter illuminates both the aesthetic tendencies that Gondry shares with some of his more eccentric contemporaries and the qualities that set Gondry’s work apart. This chapter’s analysis asks the reader to consider whimsical aesthetics in their socio-economic context, rather than assuming that style negates substance.

Keywords:   Michel Gondry, Whimsy, Mood Indigo, The Grand Budapest Hotel, Twee, Wes Anderson, Handcrafted Objects, Craft Aesthetic

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