“An awareness of contingency arises whenever there is a loss of faith in teleological explanations, in the received or discovered validity of meaning, in the rational structures of nature or the signifying power of mind and language” (Nelson, 1982.p. 13). Kubrick was not like those filmmakers who hold a mirror to nature, but rather he was one who creates his own experience. Kubrick himself said that he put forth substantial control over the final filmic product. His several films are considered major addition to generic canons like 2001: A Space Odyssey is a science fiction; The Shining is a horror film while Full Metal Jacket is on war. It seems that Kubrick texts surprisingly come and at once come to pass as part of the genre tradition, but no one can predict about his forthcoming films. Influential thematic and technical undercurrents are constantly running through each filmic text. A deep study of Kuberick’s work show that he was so absorbed with his selected stories and themes that he constantly tried new experiments with forms and used technique that take on his audience as well as deliver meaning. (Nelson, 1982) 2001: A Space Odyssey (1968) The film was popular not only for depicting future technological developments successfully, but also for engaging a generation. This film was based on a short story, Arthur C.Clarke’s “The Sentinel,”. In this film, the director presented four parts of the “epic” connected with a central idea: the development of human intelligence. 2001: A Space Odyssey is considered different, extraordinary, and exceptional science fiction films. A Space Odyssey has enjoyed an immense popular following since it was released in theaters in 1968. Kurbrick’s notion of detail performed via the renowned edit of the gloriously thrown bone metamorphosizing into the space vehicle both sums up and projects time (Phillip, 2006) A Clockwork Orange A Clockwork Orange (1971) left a powerful and positive impact on its audience because of the visual splendor of its special effect. The credit goes to the directors’ creative energy. A Clockwork Orange was adapted from a novel by Anthony Burgess (1962). A Clockwork Orange is a film, in which Kubrick put his artistic insights; he wrote the screenplay, controlled the shooting and did the editing (Kagan, 1972). The story of the film is in line with the novel and no significant modifications have been made. A Clockwork Orange is highly controlling film that engages the audience not only just to amuse them. To achieve this engagement of the audience, Kubrick goes through a complicated pattern of character development attracting the audience in and after that moving away from relaxed land to a new dimension. The character ‘Alex’ is a driving force for the viewer; his appearance, his voice and linking identification. The scenic cuts happen in hastily; beating an old drunk in a drain; an incredibly vicious gang fight; playing “Hog of the Road” in the stolen Durango 95, finishing with a visit to “Home” for the rape…” surprise visit.” In addition to all this, still the ‘
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Professor Name Subject Date Stanley Kubrick- A Life of Contributions to Film Through this study, the author aims at exploring Kubrick techniques of film making. The study particularly will focus on ; “2001: A Space Odyssey (1968)”, “A Clockwork Orange (1971)”, “The Shining (1980)”, “Full Metal Jacket (1987)” and “Eyes Wide Shut (1999)” While considering Kubrick’s work we see the majority of his films are adaptations, but the beauty of his work is that the final product has its own style and statement (Nelson, 1982)…
Kubrick was well known for his careful selection of subjects, usage of formal visual style, slow, methodical system of working, a diverse variety of genres, meticulous attention to technical details, and the protective guarding of his work and personal life.
The meaning of films from the auteur perspective is constructed a posteriori, which is semantic rather than stylistic or expressive. The films of metteurs-en-scene are the exact opposite of the auteur since they exist as a priori. The lack of clarity in this distinction has led to the difficulty in the classification of film makers as either auteur or metteurs-en-scene (Wollen 1972).
The conclusion from this study states that to listen to the score of a film is to appreciate fully exactly what the filmmakers were trying to point out to us. The acting and directing and the writing is the element that primarily we remember, however, subconsciously we remember more than we give ourselves credit for.
The author states that in the film we have young men who are experiencing release into the patriarchal society in which they will exist. The role of the maternal object of fear is supplanted by tough talking mentally and physically abusive drill sergeant who utilizes the fear of castration as a tool in assuring the success of his recruits.
This argument can be supported by the fact that despite the many challenges that the relationship finds in its way, it does not easily succumb to their negative force. It can therefore be said that the relationship is
His carrier depended on a shoestring budget in that his carrier had little funding from Holly Wood. His works were different from the other producer’s way of doing things. His Mise-en scenes and cinematography were out of the ordinary. In essence, Mise-en scenes are
Each of these three movies is unique in its own way. The message they conveyed to me the first time I watched them was larger-than-life. Each one of them has helped me become a better person by opening my eyes to big realities of life and this