@article {Kredell:2012:1740-0309:83,
title = "Wes Anderson and the city spaces of indie cinema",
journal = "New Review of Film and Television Studies",
parent_itemid = "infobike://routledg/rfts",
publishercode ="routledg",
year = "2012",
volume = "10",
number = "1",
publication date ="2012-03-01T00:00:00",
pages = "83-96",
itemtype = "ARTICLE",
issn = "1740-0309",
eissn = "1740-7923",
url = "https://www.ingentaconnect.com/content/routledg/rfts/2012/00000010/00000001/art00006",
doi = "doi:10.1080/17400309.2011.632522",
keyword = "American indie film, Wes Anderson, urban studies, gentrification, Michel Gondry",
author = "Kredell, Brendan",
abstract = "This paper explores the implications of urban gentrification in the 1990s and 2000s on the development of the American indie cinema. I argue that these implications have been far ranging, such that we are able to speak of a cinema of gentrification during this time period.
Using Michel Gondry's Eternal Sunshine of the Spotless Mind (2004) and Marc Webb's (500) Days of Summer (2009) as representative examples, I show how the films of this cinema developed a vexed relationship with the city and with urban life. In particular, I contend, we can productively
read Wes Anderson's The Royal Tenenbaums (2001) through the prism of gentrification. Following from Michel de Certeau, Neil Smith and others, I argue that Anderson's representation of the city in Tenenbaums marks a break within the history of city cinema, as it denies the social
and cultural logics of urban identity by instead reducing city space to mere location.",
}