Crewdson constructs elaborately staged chromogenic photographs with cinematic lighting and psychological tension that directly mirror Prager's theatrical approach in Anne. Both artists transform everyday American scenes into suspended dramatic tableaux charged with narrative ambiguity and meticulous compositional control.

Sherman's staged self portrait photography evokes mid century Hollywood film stills and constructs psychologically loaded fictional narratives through precise theatrical artifice, qualities that align closely with the cinematic staging and blurred reality found in Anne. Both artists use vivid figurative photography to explore the constructed nature of identity and drama.

diCorcia employs meticulously controlled artificial lighting and saturated color in staged figurative photography to create scenes that feel simultaneously real and cinematically heightened, closely paralleling Prager's signature aesthetic in Anne. His work shares the same quality of suspended emotional drama and the deliberate blurring of documentary and theatrical artifice.