Starting with year and the location of the narrative sets the up the synopsis straight away and allows readers to set the type of world the film is set in.

The use of “peaceful” and “chaos” act as an oxymoron is this sentence and amplifies the situation Scout Master Ward is dealing with especially with the additional use of emotive verb “thrown”.

The use of sophisticated language in this opening paragraph appeals to the target of audience of people who clearly take film very seriously. Words like “absconded”, “lovelorn” and “eccentric” really set the tone and will attract a particular niche of viewer mostly someone who fit in the A and C1 category as well as someone who could be classed as an “individualist”

In true Wes Anderson style, this photograph is perfectly symmetrical with the centre of the image going straight down the middle of Suzy (the girl in the pink dress) face. From either side of the invisible line of symmetry there are exactly same about of the characters in the same position, the use of symmetry although not always obvious creates an appearance of unity between the casts suggesting they are force to be reckoned with. This layout of cast also encourages the eye-line to direct itself to the centre of the composition and then outwards which could imply the order of importance of each character which would tell us that Suzy and Sam is the main the characters or that story follows them the most. Another feature of Wes Anderson films are the meticulously planned colour palette and as you can see in Moonrise Kingdom this has also been applied here. The main colour palette consists of greens, golds, browns and warm shades of red and cream. This aesthesis re-enforces the unified look of the cast as well as brings the audience’s attention to the level of detail and the though process that Anderson has. The colours illustrate and emphasize the concept of childlike wonder and memories associated with growing up and having adventures.