Stanley Kubrick Analysis

Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb was released in the United States in 1964. It received a rating of PG by the Motion Picture Association of America. The film is directed by the renowned British director, Stanley Kubrick. Kubrick uses a mostly American cast, with Peter Sellers, a fellow Brit, playing three characters, including the one after which the film is titled. This is a film that is very formal in structure and execution. The aesthetics are very crisp, sharp, and intention. It is this unyielding commitment to form, grace, and order that makes Dr. Strangelove so hilarious and effective as a war film as well as a satire of war films. Drawing from chapter 9 of Benton's American Cinema, American Culture, the paper demonstrates that Dr. Strangelove conforms to the narrative and structural requirements of American war cinema.

Dr. Strangelove is one of the many masterpieces made by the great Stanley Kubrick. The movie was made in 1964 at the Shepperton Studios in London, UK. The time the movie was made is of great importance, in fact, it was made only two years after the Cuban Missile Crisis. Kubrick pictures, in an extremely comical yet somewhat serious way, what the world would look like after one of the two forces (U.S vs. USSR) was triggered in initializing nuclear warfare.

When novels are adapted for the cinema, directors and writers frequently make changes in the plot, setting, characterization and themes of the novel. Sometimes the changes are made in adaptations due to the distinctive interpretations of the novel, which involve personal views of the book and choices of elements to retain, reproduce, change or leave out. On the contrary, a film is not just an illustrated version of the novel; it is a totally different medium. When adapting the novel, the director has to leave out a number of things for the simple reason of time difference. Furthermore, other structures and techniques must be added to the film to enhance the beauty and impressions of it. Like a

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

What I Learned Since I Stopped Worrying and Studied the Movie: A Teaching Guide to Stanley Kubrick 's Dr. Strangelove

For this paper, I have decided to compare two Hitchcock films. Ever since I can remember, I have seen Alfred Hitchcock films; Psycho, The Birds, North by Northwest, I enjoy his work because I like the suspense, and visual effects that he was able to accomplish. Out of all of his films, I believe that my favorite Hitchcock films would have to be Rear Window (1954) and Vertigo (1958), because I think that the two incorporate everything that is “Alfred Hitchcock”. Hitchcock films are known for being mysterious, cynical, as well as suspenseful and they are all similar because of his use of symbolism, light, repetitive actors, and repetition of theme.

“Kubrick’s work reveals deeper evidence of the personal involvement which distinguishes the true auteur. His develpment has been remarkably consistent through an apparently heterogeneous range of projects, and each film’s meaning becomes more confidently definable when one places it in relation to its fellows (page 561 paragraph 2).”

It had been a hot, midsummer day when Jacques Kubrick bestowed a camera upon his son, Stanley. It had been an old, Graflex camera, and from that day forward, young Stanley could be seen lugging around his father’s gift everywhere he went. He spent much of his time snapping still photos and creating home movies depicting the Bronx, his hometown, in all its glory (Uhlich). No one could have predicted that this gift was one that would affect the world. That day - July 26th, 1941 - had been renowned American filmmaker, director, and screenwriter Stanley Kubrick’s thirteenth birthday, and it had been a ripple in time, the simple start of a visionary whose future work would one day be celebrated on various platforms by more than one generation. As

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

The 1999 film ‘The Matrix’, directed by the Wachowski Brothers, tells the story of a computer-generated world in which humans are used as batteries to power the matrix’ systems. The film focuses on a small team of humans who are fighting against the matrix. There are several themes in this film and many of which are suggested through the ‘material body’. The material body is made up of four key elements- cinematography, mise-en-scène, editing and soundtrack. These elements are crucial to the audience’s understanding of the narrative and the director’s intended meaning. The ‘Two pills” scene is a good example of how the material body can be used to analyse the presentation of characters and the narrative.

The movie Dr. Strangelove was released in January 1964. According to Maland, it satirizes “anti-Communist paranoia”, the public’s “inability to realize the enormity of nuclear war”, “various nuclear strategies”, and “the blind faith modern man places in technological progress”. The movie enjoyed a popular reception; by the end of 1964, Dr. Strangelove “had earned $4.15 million in rentals in the US, and was listed by Variety as the fourteenth highest grossing film of the year.” Did the popular reception of the movie mean that the public did not support their governments’ policies? This essay shows that the public supported their governments’ policies and argues that the movie remains and will continue to be relevant in the near future.

Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” (Tiffin). That’s why there’s no surprise that when Hitchcock finally made his first color film, he began to use color as another way of communicating with his audience.

Tom Tykwer’s Run Lola Run (1998) is truly a brilliant film. It is very seldom that a film manages to combine the high pace of an action thriller and a deep philosophical subtext without botching it, but Run Lola Run does an excellent job at striking a balance between both. Tackling the very abstract and philosophical concepts of chance and cause-effect, Run Lola Run is truly a modern foreign classic. Tykwer manages to postulate one simple theory through the film, that the simplest of choices can completely change everything. The film is supported by stellar performances from Franka Potente and Moritz Bleibtreu as the protagonist Lola and her boyfriend, Manni. The film’s use of cinematography to add to the narrative, clever use of the aspects of mise-en-scene and explosively-paced soundtrack add a whole new dimension to this film. One of the few German films to be both a critical and commercial success, Run Lola Run is a smart and stimulating film, which demands active watching in order to understand fully. I will now analyze the film comprehensively using three main parameters; the mise-en-scene, the cinematography and the sound.

Auteur Theory is based on three premises, the first being technique, the second being personal style, and the third being interior meaning. Furthermore, there is no specific order in which these three aspects must be presented or weighted with regard to a film. An Auteur must give films a distinctive quality thus exerting a personal creative vision and interjecting it into the his or her films.

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).