Film Contributions of the Sixties
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
Dr. Strangelove (1964), an adaptation of Peter Bryant’s novel Red Alert, although still bearing the usual traits of a Kubrick film, is something of a departure for him in terms of editing and spatial strategies. The film’s run-time more or less corresponds with the fictional or represented time in the story. This direct correspondence between fictional and real time adds to the sense of temporal compression induced by the film’s insistent editing patterns. Although Dr. Strangelove employs many long takes, it contains the shortest average-shot-length of any Kubrick film. The film consists of roughly 700 shots and has a run time of 94 minutes for an average-shot-length of 8 seconds. Despite the rather short average-shot-length, Dr. Strangelove still resorts to crucial long takes to slow down the rapid momentum of the story (Falsetto, 35).
Several spatial and temporal procedures are at work in Dr. Strangelove, such as the use of the long take. Conversely, the B-52 sequences, often accompanied by various versions of “When Johnny Comes Marching Home,” employ different editing patterns than the rest of the film. These edits reinforce the film’s theme of inevitability. Through editing, the B-52 sequences display a strong cinematic rhythm. The shots are generally shorter than the other sections of the film, and they significantly contribute to the film’s shorter average-shot-length, despite Kubrick’s deliberate use of long takes (Falset...
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...ng shots, all three experimented with elements of characterization. Kubrick used both subjective and objective points of view quite deliberately in his films. Coppola took the Mafia, and humanized them more so than previous gangster movies, in addition to redefining what a sequel should be. Woody Allen took comedy back to its roots, and in the process, was able to created some of the most groundbreaking comedy since Charlie Chaplin. In addition, this return of the auteurs paved the way for many of today’s prominent filmmakers. Without Kubrick or Coppola, there would be no Quentin Tarantino, and without Woody Allen, there would be no Kevin Smith. Coppola, Kubrick and Allen have each made enduring films, and continued to do so well after the “Sixties” had ended.
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...e black comedy, Dr. Strangelove, incorporates Kubrick’s political beliefs through the film’s distinctive style, utilization of motifs, and the suggested affiliations between war and sex. Stanley Kubrick emotionally distances the viewer from this terrifying issue by illustrating the absurdity of the war. By implying sexual frustration and suppression as a reason for war tension, Kubrick displays a worst-case scenario of the Cold War in comical fashion. Dr. Strangelove is an anti-war satire that implicitly conveys the importance of sexual expression while humorously portraying the worthlessness of war and violence that ravaged the sanity of the 1960s American public.
Stanley Kubrick is infamous for his witty films that satire governmental and societal actions though history. In this film, Dr. Strangelove, Or: How I learned to Stop Worrying and Love the Bomb (1964), Kubrick is once again directing a film that is a biting, sardonic comedy that pokes fun at the nuclear fears of the 1950s. The screenplay for the movie was written by Stanley Kubrick and Terry Southern, and was based on the novel Red Alert written by Peter George. In this film, which is classified as a black comedy/fantasy, technology runs amok and takes over society and mankind. The irony of the situation, however, became apparent when shortly after the movie was produced, the nuclear fears became an actual world scenario among events such as the Cuban Missile Crisis, The Bay of Pigs, and the assassination of President Kennedy. It was this last event that actually delayed the release of the movie from 1963 to 1964. In this film, Kubrick attempts to give his opinion about the situation the world was in through his mocking of certain societal values, his purposeful distortion of history, and his manipulation of the viewer's sentiments.
...lm. With the director’s use of special effects, this proves that he had an artistic way of showing the film, as well as his use of ambiguous scenes and sequences that were provided in the film. By making it a classical cinema film, the Kubrick did a good job in proving the realism of space and all, as well as using the film order to make the movie in order. By making the film both art and classical cinema, this just makes the movie even better and the director more smarter for being able to do this in one movie.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
On November 29, 1947, the United Nations voted to divide the Middle Eastern land called Palestine into two independent nations, one Arab and one Jewish. On May 14, 1948, a new nation was born: Israel. The Jews of Israel and the world celebrated with joy and gladness, because for over two thousand years, they had hoped to return to the land of their heritage. (Silverman, 1) However with Jews from all around the world returning to Israel, the Arabs residing in this land were forced into exile. The rebirth of Israel marked the beginning of conflict, violence, and peace treaties between the Arabs and the Jews of the Middle East.
Revenge, Murder and The Birth of the American Mafia (268). There was high demand for safe
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Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
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