A Life of Contributions to Film - Essay Example

Stanley Kubrick- A Life of Contributions to Film Through this study, the 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). This is a notable characteristic of his work and has a critical value as the filmic products always suitable necessary filmic elements the literary texts, amending them according to their film needs. The reality Kubrick seeks in his films can only be achieved through process of the artwork: as T.A Nelson (1982) states, his oeuvere is built from a world of contingencies. “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 ‘Alex’ has energy to free his snake “Basil” and “slooshy” to the twists of Ludwig van. By considering it in the filmic perspective like camera cuts, angles and music etc A Clockwork Orange is a film where director used a variety of classy filmic technique to accomplish the act. I discuss here one scene as an example, where the director used ‘Gaze’ technique in which the director ingratiated himself with the audience. In the scene, character ‘Dim’ agrees to the invitation of proffered hand. The camera cuts to a low angle shot from Dim’s perspective who looks up into the Alex’s “mask”; into his open eyes, the left eye with lashes top and bottom, and his mysterious, snake resembling smile. The hand invites comfort; the mask contradicts sedition. Here director do not use voice to depict ‘Alex’ through a close up of his face demonstrates his deception. He hides his body from ‘Dim’ twirls the handle of his bamboo and extrudes a knife. Thus by using technique, director convey the course of action to viewers. This technique has also been used in the opening scene of A Clockcork Orange, in which ‘Alex’ is shown in extreme close-up staring directly into the camera, contacting directly with the viewer’s anticipatory gaze, and when the camera dollies out and widens, the narrative over voice, Alex’s own, directly addresses the filmic communication, “What’s it going to be then, eh?”. The Shining (1980)  The Shining represents the theme horror and represent several of Kuberick’s distinguishing techniques. Kubrick adapted it from a literary text, Stephen King’s The Shining. The film depicts reality and also has quality to engage audience actively (Michael Ciment, 1980). In this film the director worked on Horror on which he had only few earlier examples. In this sense, the film was a new discovery for the filmmaker, but he made it perfect through his creative ability and cinema graphic skills. (Michael Ciment, 1980) Full Metal Jacket (1987)  The subject of this film is war and like all war films, Full Metal Jacket is a narration of story of every combatant. Full Metal Jacket has the obvious touch of a war film, but it is different from typical films as it has neither hero nor anti-hero; neither a pro-war nor post-war story, but is a eternal story woven into a stark drapery. This film was criticized for its week characterization and for similarity with his previous films for example George Szamuely (1980) notes “In order to show young men being turned into murderous automation he has had to eschew any attempt at individualization; now, however, he has to rustle up some characters around whom to spin a story” (Szamuely, 1980. P 53). From the perspective of filmmaking, the scenes are arranged symmetrically: for instance, the opening barracks shots persist in the afterward composition, the limed bodies in the vast and open gravesite a lengthy take lastly broken by the Colonel’s interrogation of Joker. Eyes Wide Shut (1999)  Kubrick’s final film Eyes Wide Shut (1999) based on Arthur Schnitzler’s Traumnovelle [Rhapsody: Dream Story] (1925). The most fascinating thing about the film is that it does not deals with traditional love stories, but story is about a jealous husband on a mission for unfaithfulness that ends “most unfortunately.” Kubrick had to get script approval Conclusion In precis, Kubrick is a filmmaker who has strong commitment to make sure that his creation hold artistic merit. In addition he also has an equal pledge to the value of art. He has a high vision with powerful intellects and annoyed moralists. It is perhaps his commitment to art that keeps him from slipping into misanthropy. This commitment is depicted in his work and techniques he employs. He uses layered and constant thematic patterns to arrange and control his film works. He creates a planned universe which rationally challenges human mind as well as satisfies their aesthetic sense. In addition, he involves the viewer psychologically by offering moments of visual adoration and inner state. In conclusion I can say that Kubrick’s films keep invitations and provocation for the viewers. The films are close to reality and viewer feel the mental presence of characters and this effect is very strong particularly in A Clockcork Orange in which Kubrick has used the “hostile narrator” and also in the Full Metal Jacket where he applied the “hostile narrative agency”. Another characteristic of his direction is that he utilizes variety of techniques to engage his viewer from creating suspense, slow motions, drama, mysterious effect etc. Works Cited George Szamuely, Hollywood Goes to Vietnam,” Commentary, vol.85 (Jan, 1988). Print. Kolker, Robert Phillip, ed. Stanley Kubrick’s 2001: A Space Odyssey. New York: Oxford UP, 2006. Print Pocock, Judy. “Collaborative Dreaming: Schnitzler’s Traumnovelle, Kubrick’s Eyes Wide Shut, and Shut, and the ‘Paradox of the Ordinary’.” Arachne. 7.1-2 (2000):76-93. T.A.Nelson, Kubrick: Inside A Film Artist’s Maze, Bloomington: Indiana UP, 1982. 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