Stanley Kubbrick Filmography

In order to answer the research question, I examined the methods of filmography by which Stanley Kubrick in the production of A Clockwork Orange presented art and the act of violence, be it sexual or otherwise, in order to

The use of the phrase “viddy him swim in his own blood while we counted the takings”, shows how criminals such as Alex and his “droogs”, can get away with such vicious acts of crime so often that it has become a hobby for them as they take so much enjoyment from the acts. Also the casual tone depicted from the text suggests the careless nature that Alex has towards the vulgar acts. These combined together add to the theme of corruption in society in ‘A Clockwork Orange’.

During the Ludovic treatment, Alex watches extremely violent films. During the first few days he has no problems watching the films, even somewhat enjoying them. As the days continue he realizes that the accompanying music is Beethoven 's ninth symphony, fourth movement. He tells the doctors that it is a crime to use Beethoven 's music for such hatred, but he is told it 's for his own good. The combination of the violence and the music deeply tortures and changes Alex. The doctors are directly ignoring the intent and greatness of the music. The symphony is a celebration of life yet the doctors have paired the music with videos of some of the most terrible events in history, with the peak of the piece accompanied by footage of Nazi 's. The music further elevates the tragedy and scale of these

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

Reviewed by Word Press critic Michael Dykstra, the Canadian play The Drawer Boy, by Michael Healey, has been suggested to be a play containing “no violence” (Dykstra); however, this conclusion deserves further analysis. In the play, the author uses violence as a way to create an identity for Angus, a main character, as well as a method to develop Angus’s character. Through this play, Healey creates a personality for Angus that, although innocent at first, evolves through his exposure to violence and establishes within him an aggressive disposition.

Stanley Kubrick is a man that has been respected in the cinema world for many years. From films such as 2001 A Space Odyssey to Clock Work Orange he has created a lot masterpieces that have survived the test of time. By far one of his most popular works is The Shining which was released in 1980. Many film makers use different tools to analyze films and figure out meanings behind them. Kubrick was known for not explaining his work in any capacity. In order to figure out why he made the films the way that he did film critics use mise-en-scenes. Through the use of a mise-en-scene, the pantry scene is going to be analyzed to figure out the deeper meaning. This essay is going to explore what a mise-en-scene is and why the scene is used while also conducting a mise-en-scene to analyze a scene from all aspects of cinematography.

As those of us who know Tarantino, we can expect, the seemingly disconnected dialogue; the abrasive, over the top outbursts of violence; the temporal shifts coalescing into a final endgame solution, or dissolution. And through these experiences, have we come to understand and developed our own unique Tarantino expectations. Through a cinematic lens of non-understanding, Tarantino stands alone in his film style. From the visual to the audio, quite nearly every aspect of his films diverge from traditional values. Although this divergence may seem unique, it has in fact, come from a dense, through-the-ages, and accumulated knowledge of films. In an attempt to subvert our understanding, preconceived notions, and theatrical assumptions, Tarantino utilizes overt cinematic language within the film of Kill Bill Volume One, in particular the opening scene of Uma Thurman and Vivica Fox’s first encounter. This attempt is at once subtle and also daringly groundbreaking, all serving to ultimately accomplish the subversion of the audiences perceptions. With the use of unique cinematic lighting and a close attention to visual detail as well as his exemplary form of dialogue, Tarantino instantly establishes, not only this particular scene, but the entire film, to be the epitome of what Tarantino represents. By playing on the audiences assumption’s Tarantino is able to cast off traditional cinematic tactics to achieve what his style has become known for. “The

The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more

Bryan-Wilson argues that while the threat violence is ever present, the performance does not embody violence. Instead, she emphasises the giving elements of the performance downplaying

Alfred Hitchcock is widely regarded as a prime example of an auteur, a theory that emerged in the 1950s by Truffaut, in the ‘politique des auteurs’ of Cahiers du Cinema (Tudor 121). The auteur theory, as defined by Andrew Tudor, is premised on the assumption that “any director creates his films on the basis of a central structure”(140) and thus, if you consider their films in relation to each other, commonalities can be found within them. These commonalities work to demonstrate the view of the director as “the true creator of the film” (Tudor 122). Evidence of an auteur can be found in examining a director’s creative tendencies, in their distinctive themes and motifs, stylistic choices,

Another scene that equates artistic virtue with Alex's violent actions is the scene in which Alex and his gang come upon a rival gang in an abandoned casino.  This scene also uses Rossini's "The Thieving Magpie" as its music.  The scene opens with the rival gang on the casino's stage, attempting to rape a young girl while the light, happy sounds of strings are heard.  As the girl struggles, she seems to be dancing like a ballerina, tiptoeing and placing the back of her wrist against her forehead.  The fight that ensues between the two gangs gives the viewer the impression of a ballet.  Bodies fly through the air while the drifting sounds of "The Thieving Magpie" continue to play.  In an interview director Stanley Kubrick said that he wanted a way to stylize the film's violence and to make the violence as balletic as possible (qtd. in LoBrutto 4).  He accomplishes this well by pairing the floating, birdlike sounds of Rossini's piece with scenes of gang violence.  The light-hearted music in this scene seems to emphasize Alex's attitude toward violence.  He sees the violence that he commits as an enjoyable art form,

In this movie, different filmic techniques are used, however, in my opinion, they are not very effective and thus it fails to improve or contribute to the success of the movie, which I believe it should. The filming techniques used in

In this sense, we are distanced from Bateman through narrative style. On the contrary, there are times when Alex embraces us, the reader, as his ‘friends’, and labels himself as ‘your humble narrator’, regardless of the social barrier that is created through his diversity in language. There is, of course, a derisive irony in Alex’s tone – but, nevertheless, there is a connection of sorts between character and reader. This connection softens the dramatic blow of the violence the character of Alex carries out also skilfully hidden through Burgess’ use of Nadsat, meaning the audience are perhaps more forgiving of Alex’s violence when it is so playfully and lovingly described as ‘lovely roughing’. The audience are therefore more forgiving of Alex and his action and sympathise for him later in the novel. The playful descriptions of such brutal acts demonstrates how Burgess was satirising how he youth have become desensitised to society and violence even describing it as ‘sport’, this was a large concern in 1960’s youth culture with popularisation in cinema and music which increasingly had more violent and sexual

The film that made an impression on me because of its techniques was The Great Gatsby. The director, Baz Luhrmann presents certain themes and ideas for the viewers. To do this, Baz Luhrmann proficiently uses a range of techniques to demonstrate these ideas. The Great Gatsby is about a man who orders his life around one desire: to be reunited with Daisy, the love he lost five years earlier. Gatsby's quest leads him from poverty to wealth, into the arms of his beloved, and eventually to death. The techniques I write about that illustrate the themes of the film are; camera shots, setting, lighting and symbolism. The scenes I will be concentrating on are the final scenes which feature the Great Gatsby.

This thesis intends to investigate the interplay of film and architecture by following two paths.