Stanley Kubrick is a name that has remained relevant throughout the years. Movies like 2001: A Space Odyssey, The Shining, Full Metal Jacket, and many others have made an impact on how films are made, but more importantly, the thematic elements of Kubrick’s films is what translated so well to the screen. Kubrick developed stylistic innovations in his films such as one-point perspective, realistic lighting, and distinctive dialogue. All of these stylistic strategies served to amplify the common themes found in his films that dealt with enduring issues like war, which Kubrick argued is part of human nature. Not only was Kubrick a film director who made an impact on filmmaking history, but his innovative ideas have also made an impact on society …show more content…
We see distinctive dialogue in all of Kubrick’s films such as the NASA jargon in 2001: A Space Odyssey, the Nadsat argot (Russian slang) in A Clockwork Orange, the drill sergeant's rants in Full Metal Jacket and some improvised dialogue in Dr. Strangelove. Overall, Kubrick’s combination of one-point perspective, realistic lighting, and distinctive dialogue creates a simultaneous “poiesis” for the audience. Poesis, according to Philp Kuberski, is “an integral overlay of imagery....speech—that exceeds rational exegesis or paraphrase. It is the illumination that Kubrick aimed for in his films” (11). Therefore, Kubrick’s films are hard to digest at first because of their complex subject matter. Films like 2001: A Space Odyssey, A Clockwork Orange, and The Shining were perceived as enigmatic ones for their time, yet they gained a cult following and became part of popular culture. In Kubrick’s film adaptation of Anthony Burgess’s A Clockwork Orange, the different locations in the movie such as “The Korova Milk Bar”, Alex’s bedroom, the police interrogation room, and the changing room at the prison all have a similar bright lighting scheme. The lighting schemes together with the theatrical settings like the stage at the Ludovico Center where Alex’s new “nature” is demonstrated to the press suggests the artificial nature of this futuristic setting as there is an absence of a natural lighting source in the film like the moon or sun. Moreover, in the dystopian setting of A Clockwork Orange, human nature is altered through conditioning by drugs and celluloid just like what they did to Alex in the film in order to change his murderous ways. In this sense, Kubrick raised questions in his films about human nature in
Stanley Kubrick’s sexual parody, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, illustrates an unfathomed nuclear catastrophe. Released in the midst of the Cold War, this 1964 film satirizes the heightened tensions between America and Russia. Many sexual insinuations are implemented to ridicule the serious issue of a global nuclear holocaust, in an effort to countervail the terror that plagued America at that time. Organizing principles, such as Kubrick’s blunt political attitudes about the absurdity of war and the satirical genre, are echoed by the film style of his anti-war black comedy, Dr. Strangelove.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
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+
Alfred Hitchcock’s unique sense of filmmaking and directing has allowed him to become a very famous and well known film maker of his time. He uses similar recurring themes, elements, and techniques in many of his films to engage the viewers in more than just the film, but the meaning and focus behind the story.
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.
The many debates about art cinema versus classical cinema have been going around for a while. The mainstream Hollywood classical film and the art cinema are frequently presented as opposites. In one, the style of the film is bland, while the other seeks to center its focus on the visual becoming central as narrative unity. Throughout the movie directed by Stanley Kubrick called 2001: A Space Odyssey, we see that this film can be classified as an art film. On the other hand, it can also be seen as classical film. Even though these two are the complete opposite and they contradict themselves, they are both apparent in the film.
1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
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.
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
Even though Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb screened in the midst of the sobering Cold War, critics were keen on praising the film for its mastery of humor applied to such a sensitive matter. The film is exceedingly loaded with metaphors, innuendos, and allusions that nothing can be left undissected or taken for face value; the resulting effect is understood to be part of Kubrick’s multifarious theme. Kubrick has stated that what began as a “the basis for a serious film about accidental war ” eventually birthed an absurd and farcical classic comedy. The director fuses together irony, satire, and black humor to create a waggish piece but most of all the situation of the times and its gravity is the essence of what the audience finds so hilarious . Using caricatures rather than characters, exaggerated script, and sexual undertones, Kubrick manifests to the audience their own predicament and just how ridiculous it is to even consider brinksmanship as a means to preserve the American lifestyle.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Best known for his unique and non-linear style and to many people as the best director of the past decade, Christopher Jonathan James Nolan or just simply Christopher Nolan, is one of the most talented and influential film directors and screenwriters of our time. He, like most directors have never studied film and is a self-taught filmmaker. In this essay I am going to write about his early life and how he got into filmmaking. His early career and his rise to fame with Batman movies, his personal life and the influences he have had on the film industry which makes him one of the best directors of all time and my personal favorite.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...