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A Versatile Film-Maker Essay, Research Paper

Who would believe that a black comedy about atomic war, an insightful scientific discipline fiction film, and a spinal column prickling horror movie would hold anything in common? Nevertheless, Dr. Strangelove, 2001: A Space Oddessy, and The Shining all portion a common nexus: their superb manager. Stanley Kubrick has become a family name in the film-making industry. His manner and techniques produce cinematically clever innovations that have captured audiences across the Earth. His leading authorship, directing, and bring forthing abilities have made him the maestro film-maker that he is. Although his manner is really alone, much of this manner can be detected in the production of many of his films. These three films contain his defined manner of movie-making, peculiarly in the countries of proficient facets, subject, and decisions.

The proficient facets of Kubrick s films have become well-known. One technique that seems to be consistent throughout all three films is high-key lighting and over-exposure. In Strangelove, we see a great trade of over-exposure used to foreground cardinal points in the film. When Mandrake tells the President Ripper s recall codification, the lighting is really bright. This is used in order to picture the importance of this scene. Again, when the bomb is about to be dropped and the hatch opens up, the lighting is really bright. Similarly, in 2001, high-key lighting is used a great trade. We see clear illustrations of this as Bowman is going through the monolith. The visible radiations are streaked and really bright. The scene in which the over-exposure made the biggest impact is when Bowman arrives at the terminal of his journey in the hotel room. The full room is flooded with white and the scene is about blinding. The lone alleviation one finds from this blinding sight is that of Bowman in the thick of the room. In The Shining, every bit good, there is over-exposure used to convey the spectator s oculus to the object or individual being over-exposed. As Wendy describes Danny s hurt to the physician, Wendy is swimming in bright visible radiation while the physician is in the shadow of the room. This seems to connote that the physician s words are being ignored. Besides as Jack is trailing Wendy up the stepss, the visible radiation from outside inundations in behind him in order to foreground his facial looks. High-key lighting was an of import facet to all three of these movies.

Another proficient facet of the films was the usage of camera angles. In Strangelove, Kubrick used many low-angle shootings, peculiarly in the plane. The shootings were seen from the underside up to the pilots faces. There is besides the usage of bird s oculus position as the bomb is falling from the plane. This shooting was one that was besides used a great trade in The Shining. As the movie begins, there is an overhead shooting of the hotel. Again, as Wendy and Danny are walking through the labyrinth, we see them from really high up. Then a high-angle shooting is used as Jack walks up the stepss towards Wendy. The shooting is from the top of the steps looking down at Jack. Aside from high-angle shootings, we besides see some worm s oculus positions. In 2001, there is an first-class illustration of this when a Moon and Sun are shown over the top of the monolith as if person were looking straight up the length of the monolith. There are besides a low-angle shootings used in The Reflecting when Jack is tilting agai

nst the storage door and when Wendy is traveling through Jack s “script.” This movie besides utilizing another cinematography technique known as the tracking camera. Often times we see the camera following Jack, Danny, every bit good as Dick Halorann.

These Kubrick movies have much in common and besides portion cardinal subjects. A subject shared by these movies is that of isolation. Each of the films had characters who were, in some manner, isolated from the remainder of the universe. Particularly in 2001, isolation is a major factor in the narrative content of the film. Bowman has been isolated from the full universe after all comrades are terminated. He is drifting in infinite and has no contact with the Earth. Most of his journey he takes entirely and in purdah. Even as he transforms into the Star Child at the terminal, he is entirely, although he is with the monolith. Besides in The Shining, there is a great sense of isolation. The household is populating 100s of stat mis off from any signifier of civilisation with no manner to make another homo. When the wireless and the snow cat are broken, the Torrence s are snow bound and are entirely at the hotel. Although it is non as apparent in Dr. Strangelove, there is a feeling of isolation. The isolation lies in the pilots who are isolated from the universe by their orders to travel beyond the fail-safe point. Even though they have some communicating with the base, they are non allowed to listen, therefore they are isolated from the others.

One facet that seems to be present in all of these movies is the fact that all terminations are unsolved. Although the narrative ends at the terminal, Kubrick leaves his audience with another enigma merely to be interpreted by single heads. This is obviously seen in 2001 and The Shining. It is besides present in Dr. Strangelove, nevertheless it is non as clear. In the latter of the three, we see a series of atomic bombs detonating and we of course assume that the universe has been destroyed. However, one can non assist inquiring what will go on next, and what has become of this belowground universe of subsisters. In 2001, we see the Star Child as he visits the Earth and we watch him destruct a bomb. At this point, one is already exhaustively confused and continues to inquire, what of this Star Child? Where will he travel, what will he make, what will go on to Earth? Besides in The Shining, yet another enigma is presented. What the spectator sees is a image of a party at the Overlook in 1921 of which Jack Torrence was a portion. This is a really unusual and curious stoping for the film. One inquiries the life of Mr. Torrence and how he came to be a portion of the present, when in fact, he was a portion of the yesteryear. The terminal does small to reply the inquiries presented at the beginning. Here, Kubrick leaves the terminations to be interpreted by the spectator.

Although these movies were created with really different audiences in head, they portion a originator in movie-making. As a author, manufacturer, manager, Stanley Kubrick has made his ageless grade on the movie universe. His unusual, yet effectual techniques serve him good in doing unforgettable films. As one may really good notice, Kubrick s films are made non merely for the exclusive intent of amusement, but besides for the sheer enjoyment of rational procedure. He makes the viewer see and understand, every bit good as think and interpret. This is what makes him a maestro film-maker.

English | Writing Checklist | Revision and Editing Checklist Writing Checklist Revision

English | Writing Checklist | Revision and Editing Checklist

Writing Checklist

Revision and Editing Checklist





Use formal language in writing by avoiding you, I, we.

Use a consistent tone and voice.

Are the ideas clearly explained?

Are there adequate transitions between ideas?

Is the vocabulary appropriate for the audience and topic?

Is the information organized logically?

Is the information clearly explained? Can the reader understand how the supporting information relates to the thesis?

Is there enough information to support the main ideas of the essay?

Correct misspelled words.

Check capitalization.

Punctuation: quotation marks, colons, commas, dashes, etc.

Check for usage errors: change in tense, run-on sentences, sentence fragments.

Use a variety of sentence structures.

List of sources in alphabetical order.

Use electronic tools such as electronic dictionaries and spell and grammar check to edit paper.

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