Stanley Kubbrick Auteur Theory

A Clockwork Orange is a film that will always be talked about as long as other films are being made and produced. The reason this film is so popular is because it was one of the most exalted and problematic motion pictures of all time. It was liked by many people because of film work and intelligence that went on in the film. People also despised the film because of violence, murder, and rape. One person in particular that did not enjoy the film was Ben Russell, a filmmaker who wrote a review about this movie.

Smith has taken everyday occurrences, added humor and a bit of obscenity and crafted them into scripts. Smith has then taken these scripts and directed, and produced full-length films in which he also acted. After the film was fully shot, Smith then edited all of his films (with the exception of “Mallrats”). Because of all of the work that Smith single-handedly put into his independent films that ended up drawing a huge crowd of fans, he can surely be called an auteur.

During the 1940’s, the idea of the auteur theory arose. It was crafted by Andre Bazin, who was a French film critic, and Roger Leenhardt, a filmmaker. They stated that a film should represent the directors vision. Another French film critic, Alexandre Astruc, enhanced the auteur theory by expressing that directors with their camera should be like writers with their pen. This would make a director’s films all have the same type of aspects. Once a director makes a number of films, a certain “finger print” can be seen throughout his creations.

As one of the most widely acclaimed and influential directors of the postwar era, Stanley Kubrick enjoyed a reputation and a standing unique among the filmmakers of his day. He had a brilliant career with relatively few films. An outsider, he worked beyond the confines of Hollywood, which he disliked, maintaining complete control of his projects and making movies according to his own ideas and time constraints. To him, filmmaking was a form of art and unlike Hollywood, not a business.

Review of Dr. Strangelove, Or: How I learned to Stop Worrying and Love the Bomb (1964)

The term Auteur seems to bless a privileged group of filmmakers with an almost messiah-like legacy. Men such as Alfred Hitchcock, John Ford and Fritz Lange are believed to inhabit the ranks of the cinematic elite, and not surprisingly most critics are more than willing to bestow upon them the title of Auteur. By regarding filmmaking as yet another form of art, Auteur theory stipulates that a film is the direct result of its director's genius. With the emerging prominence of auteur based criticism in the 1950?s, the role of the director became increasingly integral to a film's success. However most would argue that this form of criticism didn't reach its apex until 1960s, when Andrew Sarris released his

Many people may have a specific style in which they like to dress. A woman might have a signature lipstick she enjoys wearing, a man might have a distinct cologne that stands out from the rest. Movies are not too far apart in comparison. Sometimes people find films more enjoyable than others, and often do not realize they come from the same director. The Auteur theory is a that defines the director as the sole author of the entire film, adding his or her own personal style. When it comes to the world of animation, director Hayao Miyazaki is a pioneer in auteur. His specific directorial style is seen in many of his films in which he manages to make films enjoyable to adults of all ages. Kiki's Delivery Service was one of director Miyazaki's

An auteur is a filmmaker whose movies are characterized by their creative influence. Garry Marshall is an American filmmaker, he has directed more than 15 films in his career. Garry Marshall’s films The Princess Diaries, Valentines Day and Overboard share a common theme of love and a genre of romance and comedy, he likes to use the same actors in his films and have the common plot of a double twist. Garry Marshall likes to keep to the same character persona and film techniques but these generalized similarities are not obvious to the audience, therefore Garry Marshall is not a recognizable Auteur.

Burgess' A Clockwork Orange, a critically acclaimed masterstroke on the horrors of conditioning, is unfairly attacked for apparently gratuitous violence while it merely uses brutality, as well as linguistics and a contentious dénouement, as a vehicle for deeper themes.

A Clockwork Orange demonstrates the philosophically issues of free will and determinism through how the main character was treated in the movie. It also addresses important issues such as ethics, philosophy of the mind, free will and determinism, and the problem of perception. Philosophers such as John Hospers, B.F. Skinner, and Jean-Paul Sartre have different views on the issue through their theories of how individuals are or are not responsible for the free will choices that they make in life. The main character in the movie was a very violent , and reckless person. He participated in sinful acts such as being a gang member, raping women, being involved in fights, etc. These actions resulted in him being sent to prison and eventually being brainwashed into doing things out of his character. The three philosophers have very different interpretations of how the main character should have been dealt with and the reasonings behind his actions.

The concept behind the Auteur Theory suggests the artist have complete control over their artistic vision as a result of the writer and/or director working outside of the studio system in an arthouse context. In classical Hollywood, the director was essentially an employee often with limited control over the types of film they made, strips they had and casts they worked with (Thomas, AJ. 2015). The Auteur Theory becomes a challenging concept for the director him/herself. Within that context, the idea of expressing a personal vision becomes more complex as the director has more of a limited capacity over controlling the elements to make that vision. Authorship in this sense is the idea of how the director expresses that perspective within the

The use of music as a motif in (Stanley Kubrick, A Clockwork Orange 1962)] creates a lens so that the viewer is able to recognize the trend that violence has to destroy an individual’s identity. Although Alex (Malcolm McDowell) clearly associates violence with his own individual identity and sense of self, he consistently reveals the impossibility of remaining an individual in the face of group-oriented violence. The images that music create coincide the destruction of Alex’s identity, either through compliance to a group’s style of violence or through failure to embrace the similarity of group actions associated with violence. As the movie progresses, musical imagery follows the exit and return of his personal identity as a role of his

The society of A Clockwork Orange is constructed upon struggles for power. Crime is a part of the everyday. Violent street gangs seek power through anarchism, direct authority is represented by a network of corrupt police, and on the highest social level a struggle for political and administrative power is fought. Alex reflects: "Power, power, everybody like wants power." As a microcosm of the social mentality, he seems to fit the notion of being a product of his environment.

Similarly, the character of Alex McDowell and his actions are presented with methods comparable to that of Bonnie and Clyde. Stanley Kubrick stresses the violence in A Clockwork Orange as a way to show the full extent of his harmful maniacal ways. Narration alone can only tell us so much about his personality and isn't able to comprehensively encompass the significance of the violence attributed to Alex. It isn't until we see the crimes being committed in vivid detail that we are able to recognize the true nature of Alex’s moral extent. This illustrates him as the character he is meant to be as per the novella written by Anthony Burgess. We learn through wide angle shots of the moments leading up to the raping of a helpless woman, that Alex is entirely comfortable with the sadistic action and even finds it amusing. Upward facing camera angles that specifically place his face as the focal point are used during this scene and many others like it to enunciate his sinister appearance. They are used to show that as a person, Alex enjoys these all to pernicious behaviors. The excessive realness of the scenes only supports our understanding of his lack of humanity. Alex’s aggressiveness is magnified by the way he senselessly beats the old man under the bridge and the husband of the raped woman. Incorporating an undisturbed shot of him doing so allows it make a greater impact on the audience's perception of the character. Just as in Bonnie and Clyde, violence is shown with no

It shows roughly 12,000 acts of violence, murder and rape being the most portrayed, and over 1,000 studies guarantee that too much screen time for boys increases their aggressive behavior. Such as the numerous crimes inspired by Stanley Kubrick's A Clockwork Orange. If the various murders of teenage boys and the assault of a woman by a man dressed as a droog were not disturbing enough, Kubrick indefinitely took it off the market after a gang rape was conducted