Kubrick
Stanley Kubrick: An Analysis of His Life and Work

Biography

Stanley Kubrick, who many would describe as one of the greatest filmmakers every, was born in 1928 in the Bronx, New York. Believe it or not many would say that Kubrick was not a born writer or filmmaker, but rather one that was made. This is the result of some less than spectacular early attempts at writing and filmmaking. Though Kubrick did believe that college might be beneficial at some point in his life, he was actually not able to get into college due to his tremendously bad grades in high school (SK-TMF 1). His passions while young included "jazz drumming, chess and photography" (SK-TMF 1). Considered a "non-brilliant student," it took some time for Kubrick to begin pursing his real dream ... filmmaking (SK-TMF 1).

Kubrick made his first film at the age of 23 in 1951 (Gerrhig 12). The film master…...

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References:

Anderegg, M. "Inventing Vietnam: The war in film and television." Philadelphia, Temple

University Press: 1991.

Canby, V. "Full Metal Jacket Review." The New York Times, 1987, New York Times. 24,

April, 2005:  http://movies2.nytimes.com/gst/movies/movie.html?v_id=18878

Strangelove, put him over the top" (p. 61). The learning curve was clearly sharp for Kubrick, and he took what he had learned in these earlier efforts and put this to good use during a period in American history when everyone was already ready to "duck and cover": "The film's icy, documentary-style aspect served not only to give the movie its realistic edge that juxtaposed nicely with its broad satire, the style introduced the essential Kubrick setting" (Sharrett, 1999, p. 61).
According to Mcdouglas (2003), Dr. Strangelove, 2001: A Space Odyssey, and a Clockwork Orange were all later listed by the American Film Institute as being among the top one hundred American films of cinema's first century. In addition, "Each of these films provoked heated debate and each was a box-office success" (Mcdouglas, 2003, p. 2). The popular response to Kubrick's movie, 2001, in particular, was the result of an…...

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References

Badley, L. (1995). Film, horror and the body fantastic. Westport, CT: Greenwood Press.

Booker, M.K. (1999). Film and the American left: A research guide. Westport, CT: Greenwood Press.

Cook, D.A. (1996). A history of narrative film. New York W.W. Norton.

Falsetto, M. (2001). Stanley Kubrick: A narrative and stylistic analysis. Westport, CT: Praeger.

Kubrick
An Analysis of the Evolution of Kubrick's Technique in His Early Films

In contrast to his later films (A Clockwork Orange, Full Metal Jacket, Eyes ide Shut), the films of Stanley Kubrick's early career may be seen as far more conventional in terms of plot, camera work, and realism. hile such pictures as "Day of the Fight" and Fear and Desire are by no means reflections of the director's early innocence or naivety, they did appeal to contemporary conservatism, whether as informational pieces or as a melodramatic war stories. Nonetheless, Kubrick's early work reveals the director's creativity, originality, and willingness to explore complex and controversial themes. From "Flying Padre" to Paths of Glory and Lolita, the first part of Kubrick's oeuvre captures a time and place in American history that is at once as stylish and straightforward as it is melodramatic and contentious. This paper will show how Kubrick's early films…...

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Works Cited

Ciment, Michel. Kubrick: The Definitive Edition. UK: Faber and Faber, 1999. Print.

Ebert, Roger. "Paths of Glory." Chicago Sun-Times. 2005. Web. 16 Oct 2012.

Ferrara, Serena. Steadicam: Techniques and Aesthetics. UK: Focal Press, 2000. Print.

"Fracturing the Pawn: Destruction of the Reader in Nabokov's Lolita." Web. 16 Oct

Another pattern of the film noir is the urban setting which has dark and/or wet streets. Take for example the scene when Mike leaves for the bus station, for the flower box, the street outside his apartment is wet.

What might be rather bothering is the narration, the voice is not the most pleasant one, and some may find the information in it too much. But we can not ignore that it is an important to the film's structure, the description sounds like the narrator's a reporter looking back on the past events with objectivity.

Definitely ingenious because it relies heavily on flashbacks, and is telling things out of order depending on which character is involved with the heist; in spite of these nonlinear sequences it is very straightforward, very unique for its time.

Kubrick is the master in creating tension in his plots, playing with time, he takes each character and plays…...

Spartacus
An Analysis of Stanley Kubrick's 1960 Spartacus

Gerald Mast (2006) notes that "as with enoir, Kubrick's social evils are human evils; the problem is human nature," (p. 542) and such can easily be applied to Kubrick's 1960 Spartacus -- despite the fact that the film cannot really be said to be his. Spartacus is more Kirk Douglas' vehicle than anything. Bought by Douglas, the story was meant to be his answer to Heston's Ben-Hur -- the same sweeping scope, the same omanic epic. (Douglas, in fact, fired several members of the crew -- including the director, which is how Kubrick, then only 30, got the job). Nonetheless, the Spartacus narrative does not shy away from the kind of lore that Kubrick would go on to make infamous. Douglas turns his Spartacus into a kind of Christ-figure (dying, of course, not for man's sins but for freedom -- liberation, after all, was…...

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Reference List

Ebert, R. (1991). Spartacus. RogerEbert.com. Retrieved from  http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19910503/REVIEWS/105030304/1023 

Fitzgerald, J. (2009). Historical Accuracy Need Not Apply. Amog. Retrieved from  http://amog.com/entertainment/historical-accuracy-apply-top-war-movies-fabrications/ 

Haaren, J.H. (1904). Famous Men of Rome. New York, NY: American Book

Company.

Everything is perfect…who knew that life was this easy? Lester and Angela agree that people in the contemporary society live in a lie and that they are unable to see the truth because they are actually in love with the imagined world and they hold on to it regardless of the costs. Lester thinks about how he was about to commit suicide just a day before, but he stopped because he realized that there was more to life than that.
As the couple get closer to a gas station they are about to rob, they become less enthusiastic about their condition, but they proceed with their plan. Angela needs to get the cashier's attention and influence him in abandoning the cash register while Lester moves in and silently steals the money -- they believe that it is easier for them to get money without using their guns. The plan works…...

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Works cited:

Hasford, Gustav. "The Short-Timers." Harper and Row, 1979.

Woolrich, Cornell. "It Had to Be Murder." Retrieved December 14, 2011, from the Miette Website:  http://www.miettecast.com/woolrich.pdf 

Dir. Alfred Hitchcock. Rear Window. Paramount Pictures, 1954.

Dir. Clint Eastwood. Unforgiven. Warner Bros., 1992.

Moreover the shop owner is no longer upset with them and seems to be pleased with them -- implying that there may have been some financial arrangement between him and the men. Lastly, the shop owner's daughter is all but offered to Bill for sexual purposes. This behavior is certainly not in accord with conventional estern morality, and indicates that where power is concerned -- in this case in the form of money and social prestige -- sexuality and sexual acts are permitted, even with one's daughter.
Since Bill is technically a wealthy socialite in his own right, it is extremely interesting to note the occasions in which sexuality and power are used against him. Such an occurrence takes place when his wife reveals her fantasy and when he is expelled from the orgy for not having properly received an invitation and not knowing the purported second password. Yet the…...

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Works Cited

Ebert, Roger. "Eyes Wide Shut." www.rogerebert.com. 1999. Web.  http://www.rogerebert.com/reviews/eyes-wide-shut-1999 

Eyes Wide Shut. Dir. Stanley Kubrick. Perf. Tom Cruise, Nicole Kidman. Warner Brothers. 1999. Film.

Freud, Sigmund. Civilization and its Discontents. www.lightoftheimagination.com. 2000. Web.  http://lightoftheimagination.com/Freud-Civil-Disc.pdf 

Nietzsche, Friedrich. On the Genealogy of Morals. www.inp.uw.edu.pl / 1898. Web. http://www.inp.uw.edu.pl/mdsie/Political_Thought/Nie-GenologyofMorals.pdf

movie Gladiator made a number of people turn their attention to what might be called the Ur Roman History Movie - Spartacus. But while most of us know the film for Charlton Heston's lean, pre-NRA president look or for the fact that it enjoys a cult standing among gay men of a certain age, very few of us have probably thought much about the real history that lies behind the movie. Indeed many people may well not even know that there was a real person named Spartacus who did in fact lead the Gladiatorial ar against Rome in the years 73 to 71 BCE.
hile some of the facts about Spartacus's life are relatively well-known, others can only be guessed at. It is known that he was born in Thrace, a region of the Southeastern Balkans that now lies partly in Turkey, partly in Greece and partly in Bulgaria.

It is…...

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Works Cited

Encyclopedia Britannica  http://www.trussel.com/hf/ancient.htm 

Shaw, Bernard. Spartacus and Slave Wars. London: Bedford St. Martins, 2000.

Shaw 2000

Encyclopedia Britannica

Stanley Kubrick’s 1968 film 2001: A Space Odyssey is a masterpiece in the science fiction genre. Based on a story by Arthur C. Clarke, the film epitomizes the features of science fiction, including an overarching theme questioning the role of humanity in the universe. The film could just as well be classified as an epic, given its length and breath, as it begins with the origin of human beings through a depiction of evolution from primates, through the story of a space mission occurring millions of years later. Plot practically takes a back seat to cinematography and design in 2001: A Space Odyssey, in which Kubrick employs multiple cinematographic tools including music, mise-en-scene, editing, lighting, design, and script elements.
The mise-en-scene in 2001: A Space Odyssey is simply extraordinary, because each image captures the tension and existential angst that pervades the movie. Because the bulk of the film takes place in…...

Full Metal Kubrick
In the years following the Vietnam War, from 1979 -1989, many movies were created to depict this event from an American point-of-View. The genre of war movies, became inundated with new films based on this violent conflict. The purpose of this essay is to explore Stanley Kubrick's movie Full Metal Jacket as it relates to film media and how it represents this particular era in both history and art. This essay will discuss how this film played an impact on American culture and film in general.

Kubrick

Stanley Kubrick is often noted as one of the best film makers who has ever picked up a camera. His legend is based upon his intellectual capacity and his daring and innovative styles of film that never seem to become outdated and remain fresh and current despite them being decades old. Kubrick had great success as film maker in the years prior to…...

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References

Cocks, G., Diedrick, J., & Perusek, G. (Eds.). (2006). Depth of field: Stanley Kubrick, film, and the uses of history. Univ of Wisconsin Press.

White, S. (1988). Male bonding, Hollywood orientalism, and the repression of the feminine in Kubrick's Full metal jacket. Arizona Quarterly: A Journal of American Literature, Culture, and Theory, 44(3), 120-144.

Sperb, J. (2006). The Kubrick Facade: Faces and Voices in the Films of Stanley Kubrick. Rowman & Littlefield.

The 1964 film Dr. Strangelove uses the context of Cold ar brinksmanship in order to uncover a more fundamental problem with patriarchy and the maintenance of a destructive masculinity. This masculinity is under threat as a result of sexual frustration, and the characters of Ripper, Turgidson, and Kong embody three different kinds of this frustration. Ripper's sexual frustration is the most explicit, and leads to the most overtly violent reaction. Turgidson's sexual frustration is not the result of a physiological problem but rather due to pent-up energy, and thus his reaction is to cheer on the violence perpetrated by Ripper, even if he cannot engage in it himself. Finally, Kong, who is denied the kind of sexual immediacy granted Turgidson, nonetheless is able to overcome the frustration experienced by the other two men when he finally succeeds in dropping a nuclear bomb. Thus, the film suggests that the true threat…...

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Works Cited

Bingham, Dennis. "I do Want to Live!": Female Voices, Male Discourse, and Hollywood

Biopics." Cinema Journal 38.3 (1999): 3,3-26

Cardullo, Bert. "Why we Fight, Or Men, War, the Movies, and Metaphor." The Midwest

Quarterly 52.3 (2011): 239,239-255.

The colors used are also drab and grey-green dominates to evoke a sense of claustrophobic death and destruction.
Another aspect that evokes atmosphere in the film is the use of music. Kubrick chooses a soundtrack which is both empty and banal yet also succeeds in emphasizing the loss of meaning and vacuity in what the young recruits have become. The director makes use of popular songs such as "These Boots Are Made for Walking" and "Surfin' Bird." The very emptiness of the lyrics tends to ironically emphasize the dehumanization and loss of identity which pervades the film (Maslin).

The theme of dehumanization is followed through in the graphic events of the battle and we also see the "…collapse of the individual into the group" (Anderegg 11). For example, when Joker tries to express his individuality by wearing a peace symbol on his uniform, he is sternly rebuked by a marine officer…...

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References

Anderegg, Michael, ed. ( 1991) Inventing Vietnam: The War in Film and Television.

Philadelphia: Temple University Press.

MASLIN J. FILM VIEW; INSIDE THE 'JACKET': ALL KUBRICK . ( 1987) Retrieved

June 8, 2009, from  http://movies2.nytimes.com/mem/movies/review.html?_r=2&res=9B0DEEDD1731F936A35754C0A961948260&oref=slogin&oref=login

Instead, he proved that art can be achieved through more than one means and that his movies would ultimately achieve great results in the film industry.
The main reason for why Kubrick has drawn many critiques for his movies is that he chose to satirize society through a series of cliches.

Similar to Kubrick, Park Chan-Wook, the South-Korean filmmaker, has intended to make movies that would bring together both comedy and drama into films that have a touch of satire of the society.

Park's films are generally recognized for the direct way that he uses to make his audience better accustomed with his work. Both Park and Kubrick have abused extreme violence and S.F. In their movies, but this only added to the dramatic feeling that one gets when viewing one of their creations. Kubrick and Park stand out from the rest of the film directors for the reason that they had…...

The only connection between the two worlds of Tesla and Robert, electricity and old-fashioned staged magic, is the sense of hyper-reality: of magic and stagecraft in one realm, and electricity and the 'real world' of science that makes the depiction of magic on film possible. Tesla's mad scientist hair, the bags beneath his eyes, make him look more mentally unbalanced than a rationalist -- a mad inventor of film, not a trusted authority to the eye. The viewer's apprehensiveness is dependent upon this awareness of cinematic conventions, just like the audience of a magical illusion is dependant upon their awareness that it is, in fact, an illusion.
Further unsettling the viewer's sense of Tesla's trustworthiness are the buzzing electric generators that hum like tiny bees in the background, sparking with fire. Tesla seems purely a creation of the cinema, of electricity itself. Electricity unlike staged magic is real but close-ups…...

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Works Cited

The Prestige. Directed by Christopher Nolan. 2007.

Cold War and Film
Generally speaking, the Cold War has been depicted as an era of spy games and paranoia in popular films from the 1960s to the present day, but the reality of the era was much more complex. The Cold War was a period of military and political tension from 1947 to 1991, or from the end of WW2 to the collapse of the Soviet Union, in which the "politics of war" masked the business and social agendas of multinationals and ideologues. The era was marked by myriad issues: East-West mistrust, proxy wars, espionage, the threat of nuclear war, domestic and foreign propaganda, the rise of the military-industrial complex and multinational corporations, assassinations, detente, de-colonization, new nationalism, neo-colonialism, the vying for control of resources, alliances (NATO, Warsaw Pact), and an inculcation of the "deep state." [footnoteRef:1] It can be divided into five basic periods: 1947-53, 1953-62, 1962-79, 1979-85,…...

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Bibliography

Dominik, Andrew, dir. Killing Them Softly. NY: Weinstein Company, 2012. Film.

Eliot, T.S. "Burnt Norton." The Four Quartets. Web. 10 May 2015.

Frankenheimer, John, dir. Seven Days in May DVD Commentary. LA: Warner Home

Challenging Traditional Notions of Hierarchy and Power in Spartacus

Stanley Kubrick's epic masterpiece, Spartacus, released in 1960, stands as a profound cinematic exploration that challenges and subverts traditional notions of hierarchy and power. Through its compelling narrative, rich character development, and stunning visuals, the film presents a searing indictment of the oppressive Roman Empire and the brutal systems of slavery and inequality that defined its time.

Subversion of the Slave-Master Dichotomy

At the heart of Spartacus's challenge to hierarchy lies its unflinching depiction of the slave-master relationship. The film portrays the slaves, not as passive victims, but as individuals with their own agency,....