In 1962 MGM (Metro-Goldwyn Mayer Films) released “How The West Was Won”, projected in a movie theater with three panels that needed to be projected by three different movie projectors at the same time. In a time where the classic western genre was about to be extinct. This ambitious project filmed by three different directors ended in a huge success, and it made investors believe that the movie industry could compete with the TV.
Kubrick was obsessed, around the 1950’s, with Sci-Fi hits one after the other, it helped this genre evolve into something bigger. Kubrick believed that this genre had the future of being something else and the spectators have never seen before. He wanted to change the way we watch movies all together. Kubrick started talking about a new project, that when it became to a reality, he placed a temporary title of “The Conquest of Space”. As always, he started to read all types of Sci-Fi books that he could come across with, to find interesting stories. Someone had recommended him to speak with Arthur C. Clarke.
Kubrick wanted to accomplish a Sci-Fi film with colossal scientific proportions. His ambition was to believe reasons to believe in life outside the planet, and the impact that it would have to the human race. He learned from the books, “Childhood’s End” and “the
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Sentinel” both books written by Arthur C. Clarke, and built one of the greatest movies that is considered among the best to this day. Clarke and Kubrick went to a fair in New York, and watched a documentary that left both of them speechless. It was sponsored by NASA and titled “To The Moon And Beyond”. Another documentary that Kubrick was amazed by was “Universe”. He hoped to hire people, without thinking about it twice, the team that created both documentaries to be cast the movie “2001”. Later on he told Clarke that his true interest was to make mythological documentary with dramatic scenes. He would have limited conversations in said movie and would hire astronomers with beliefs that alien life is possible, that at the end had to narrate how the aliens would help us thanks to the monoliths. At the end he succeeded. The elements of the story changed a bit, but the main idea remained through the film. All possible characters, all possible plots were reduced to a minimum. Only two interesting characters in this story, Moonwatcher and HAL 9000. Kubrick said that it was the first religious movie that was worth 6 million dollars, and he knew it. The question is the following, and it is inevitable: How is a documentary incredibly boring based on speculations, with such a broad ending, it’s defended as the best movie of all time? By own personal experience, documentaries are not a genre that inspire you to do something. However, viewers do not support, for example, a sequence shot by Andrei Tarkovsky, are more than willing to praise several minutes circling Bowman (12) around the area housing the Discovery. While Tarkovsky, one of the few great artists who has given the film, mostly flat, elongated by outside, offering the viewer the chance to build their own relationship with the characters and the environment, and including the famous sequence that the astronaut is giving only one type circularly running relentlessly. And nothing more. It would be interesting to a great admirer of this work explain how emotion, thought, reflection or commotion produces the famous plane. No objection to the amazing cinematography, avoiding the shadows of the camera view on that plane, and that gave birth to the legendary decorated. So light that one day caught fire. Luckily there was no one inside. Many who can not stand, considering it a joke and a waste of money, which some managers explore and investigate new visual forms, they remain entranced, fascinated, with five minutes of what in the 60s it was the reason for the hippies were placed cinema.
The trip Bowman (a blank Keir Dullea), work of the great Douglas Trumbull, was a result of using the slit-Can camera, an optical printer, photographing a cylinder moved slowly, decorated with pop-art designs and architecture . Actually, it recalcitrant than those who are never interested in forms of abstract expression feel deluded (in both directions), these images that today do not impress, and become unbearably
long. The film for Kubrick would have been one that would eliminate the human factor. Both in the shooting, and the reception of the work. His film could be more enjoyable for droids that inhabit the Earth in 1000 years, that those who today cry out to heaven for those auteur films who do not know, or will not, understand fully. Here the protagonist is HAL, and HAL only, and feelings of despair to know that you are going to erase the memory. The astronauts, however, act like automatons, almost lifeless, emotionless, sober and serene, even when they must act against an artificial intelligence who killed their classmates. Likewise, the picture is clean. It was shot at full aperture, with wide-angle lenses majority. The white color was one of the protagonists, with the softest light, which is still today a miracle of photography. All ready for that feeling of coldness, remoteness, the director sought rationality. A film made by an emotionless android, who observes everything as a superior being, without passion involved, noting that all the time behind the camera is an inimitable genius. And so it seems when you see: the masterpiece convinced beyond any appreciation. Likewise, the symmetry of the lines in the composition of the frames is deliberately sought. And from this film it would be an obsession in the mind of the director. Like many other elements of the film. Not surprisingly, the second part of Kubrick's career begins with this movie, and the five films that went after her are, more or less, a thematic variation with the same structure, divided into three very different acts, with little characters elaborate, the story focused on the achievement of a world in which Kubrick was more comfortable. But none more comfortable than in the cold, sterile, inhuman environment '2001' Less than ten years later, “Star Wars” is released,and according to Kubrick, it does not look so good , even remotely, as ' 2001 ' . The truth is that the first is fancy , while the second is not , but Kubrick was hurt in his pride when it swept in theaters around the world while her film, which also made money but much less , was " simply " considered an arthouse film .
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
...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.
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
Stanley Kubrick was one of the first people to make great use of the extreme wide-angle lenses so tremendous that the lenses cause some sort of barrel distortion. For Example, in the A Clockwork Orange, is a great example of how Kubrick uses the wide-angle lenses. The lenses were used in both dolly handheld shots. The wide-angle lenses were very consistent and steady with the tone of the movie all together. His camerawork was something people should really resemble off of. The camerawork really makes a big
Prideaux, T. "Take Aim, Fire at the Agonies of War." Life 20 Dec. 1963: 115-118. Rabe, David. "Admiring the Unpredictable Mr. Kubrick." New York Times 21 June 1987: H34+
Dr. Strangelove is in itself one of the most interesting pieces of cinema in the history of the medium. It captures a moment in world history, and the fear and hysteria that was associated with it, and translates it into the darkest of comedies. Kubrick came of age after World War II and the beginning of the Cold War, and like many others during this time period, he suffered immense anxiety about the potential for nuclear war, fearing that his hometown of New York could be a likely target, and even considered moving to Australia. He began consulting with others about the possibility of making the subject of nuclear conflict into a movie.
The first issue, I will be discussing the scientific themes of the movie. The movie, “2001: A Space Odyssey,” has a one of a kind vision of science and technology. The movie “2001” brings a great new style of reality and realism to space technology and travel. Since there was no great technology in 1968 and space travel was not as well defined as today, Kubrick stayed away from fantasy and focused more on reality of space travel, a scientific theme throughout the movie. “2001” definitely shows the viewer the outer space in a very effective way. The outer space is large and empty, which Kubrick displays very well. His computer, HAL 9000, is one of the most popular computers in my opinion. HAL 9000 is a big machine, and speaks like we expect machines to speak, and is apparently designed to have some emotion. HAL 9000 was built to be invincible with very little flaws and that characteristic is typical to be put in movies, illustrating the point that often movies have too much faith and trust in machines. HAL 9000 was designed to f...
Stanley Kubrick was born July 26, 1928 in Bronx, New York. As a young boy, he enjoyed photography which sparked his love for filming. His father, Dr. Kubrick, had inspired young Kubrick to use his Graflex Camera to take pictures of anything he desired to keep memories of. This was later transformed as young Kubrick’s hobby. Growing up into his teenage years, Kubrick had gone to the movie theater almost more than attending high school. He would watch movies over and over and still be amused by the film even if it was not a good film. With this critical view of the films he was watching, he began to think that he could make a better film compared to what he was watching. Eventually, with the compassion for photography the Kubrick had, he had sold one of his pictures to Look magazine. Look magazine hired him as a freelance photographer and with the money he saved up, Kubrick...
Films are necessary in our time period because the human eye can articulate the message intended through sight allowing visual imagination to occur. In the book, world 2 by Max Brooks, he creates a character by the name Roy Elliot who was a former movie director. Roy Elliot manages to make a movie titled “Victory at Avalon: The Battle of the Five Colleges” and some how it goes viral. Similarly, Frank Capra’s film, “Why we Fight” expresses a sense of understanding the meaning of wars. Films do not inevitably portray truth because they display what the film director views as important and beneficial for people to know.
The movie I decided to analyze for this course was American History X (1998), which stars Edward Norton. Though this movie isn’t widely known, it is one of the more interesting movies I have seen. It’s probably one of the best films that depict the Neo Nazi plague on American culture. The film takes place from the mid to late 1990’s during the Internet boom, and touches on subjects from affirmative action to Rodney King. One of the highlights of this movie that really relates to one of the key aspects of this course is the deterrence of capital punishment. Edward Norton’s portrayal as the grief stricken older brother who turns to racist ideologies and violence to cope with his fathers death, completely disregards the consequences of his actions as he brutally murders someone in front of his family for trying to steal his car. The unstable mentality that he developed after his father’s death really goes hand-to-hand specifically with Isaac Ehrlich’s study of capital punishment and deterrence. Although this movie is entirely fictional, a lot of the central themes (racism, crime punishment, gang pervasiveness, and one’s own vulnerability) are accurate representations of the very problems that essentially afflict us as a society.
is the same as many other sci-fi films like war of the worlds and mars
After Kubrick bought the rights to Stephen King's 1977 novel The Shining and hired novelist Diane Johnson to help write the screenplay, both Johnson and Kubrick read Freud's essay on "The Uncanny" and Bruno Bettelheim's book about fairy tales, The Uses of Enchantment.2 Kubrick obviously wanted to surpass the intellectual depth of contemporary horror films such as The Exorcist and Omen. He said he was attracted to Stephen King's novel because "there's something inherently wrong with the human personality. There's an evil side to it. One of the things that horror stories can do is to show us the archetypes of the unconscious: we can see the dark side without having to confront it directly." 2
The film I have chosen to watch and write about between 1940 to 1970 was Once UpOn a Time in the West directed by Sergio Leone. The genre of this film is Western.The setting of this film is around Flagstone which it is a fictional town in the old west. It is the period of bombing business of the railroad industry, and in this film it is one of the main conflicts. Moreover, the other part of the conflict comes from the main character seeking vengeance against a cold blooded killer. This film have these characteristics such as; vengeance, traitor, mystery, and death. Which it makes the film interesting that you want to watch the film to the end to find out what happened. I like this technique because that is the only way to be able to watch this
The first Western film ever made was called ‘The Great Train Robbery‘. It was made by ‘The Lumiere Brothers’ in 1903.This film was a high quality film, because they used some panning with the camera. This was unusual in its time because the cameras that they had, had to be put on a fixed point because they were too heavy to lift. This meant that they couldn’t move in for close-ups. Consequently it made it harder for the audience to understand the characters feelings and to understand the storyline. If the camera can move in on the villain when he is plotting something or pulling a gun out ready for a fight it is much easier for the audience to follow. ’The Great Train Robbery’ was a simple one-reeler action picture, about 10 minutes long, with...
this essay I am going to set to prove that Stanley Kubrick is trying to prove that violence can