Analysis Of Stanley Kubrick 's The And The Post Strangelove Films
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Edited part 2
“The use of colour to express complexity of mind and to affirmatively counterpoint brutality also distinguishes the post-Strangelove films. As Sergei Eisenstein (an early theoretical influence on Kubrick) predicted, colour in serious cinema would become integral to meaning. But unlike some of Eisenstein’s ideological descendants, Kubrick did not consider beauty to be a varnish for social injustice.” (rice, pg2)
Stanley Kubrick began making films in the 1950s; his early films were in black and white since, at the time, color film stock was very expensive and only used on big budget films with big stars. His first technicolor feature “Sparticus” (1960) was extensively storyboarded and was even put through the same rigorous color tests that Walt Disney used for all his feature films since Kubrick was obsessive about color. Due to struggles with actor Kirk Douglas, Kubrick refused to work with star actors which resulted in him not working in color for nearly eight years.
Black and White: The duality of Man.
In the context of Kubrick’s films, the relationship between black and white takes on its own independent significance as an element of colour design. Kubrick uses black and white as if the were on either end of the spectrum, polar opposites but made up of the same spectrum. This duality of colour echoes the duality of man in Full Metal Jacket and 2001 and on a less obvious way his other films.
Kubrick returned to color film stock for his masterpiece