2001: A Space Odyssey‚ directed by Stanley Kubrick released in April of 1968. Although the movie premiered almost 40 years ago‚ it still remains a phenomenon today. The film incorporates the evolution of humanity‚ technology‚ extraterrestrial life and a journey toward greater intelligence. The movie has scientific accuracy and unbelievable imagery‚ creating a visually pleasing movie with very little dialog. The music‚ visuals‚ structure and pace all play an important role in the film. The little
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Lolita Kubrick’s Lolita‚ in my opinion‚ is an excellent example of Kubrick’s attempt (and success) in transforming one of the best literary works in history into a cinematic work. Kubrick’s use of innuendo and visual storytelling truly conveys the novel’s spirit‚ feel‚ and irony. The characters in Kubrick’s Lolita are the driving force to the story and are managed by superb actors and actresses. That aside and more importantly‚ it is Kubrick’s use of relationships‚ staging‚ environment‚ suggestion
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The 1960 film Spartacus‚ directed by Stanley Kubrick’s illustrates the retelling of the story of a slave that had led a revolt. This revolt turned into a major war known as the Third Servile War between the superior powers of the Roman Republic. Kubrick’s version of the film precisely portrays the story of Spartacus‚ but there are elements that embellish the conception of slavery to appeal to an American audience in the 1960s. These embellishments would include the contrast between the characterization
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“… As far as I know‚ there is no definition of the auteur theory in the English language‚ that is‚ by an American or British critic” (Sarris 1962) was the opening line to Andrew Sarris’s famous “Notes on the Auteur Theory in 1962” essay. This essay is what brought the “auteur theory” in to the spotlight in the USA. And to today‚ this theory is still in hot debate. Trying to figure out whether or not the director is the lone “auteur” of a film is a tough claim to make. In an article for Slate Magazine
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Greatness. 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
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growing doubt among conspiracy theorists claiming that the live broadcast provided by NASA showing Apollo 11’s lunar module landing on the moon was in fact faked. The conspiracy theory states that the landing actually occurred in an undisclosed Hollywood studio set by the United States‚ with the help of famed director Stanley Kubrick‚ in an attempt to beat the Soviets in the space race. Disproving the belief that the moon landing was faked by the government can be done by examining the physical evidence
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watching the play. Bertolt Brecht believed in a much different way to write a play‚ known as Epic Theater. Epic Theater highlights the problems of society while surrounding the theatergoers with an unrealistic plot. Dr. Strange Love directed by Stanley Kubrick‚ is a perfect example of epic theater the way Bertolt wanted it. In the movie Dr. Strange Love the names of the characters were supposed to be spoof and let the theatergoers know that they are in a theater and this isn’t real life. Some of the
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is a way in which film can be categorised according to the stylistic and narrative elements of the director. Auteur theory usually attributes the creation of a films artistic style solely to the director. Film authorship can be explored as a commercial‚ textual‚ or critical category as explained below in relation to the films of director David Lynch. The concept of the director as “auteur” was brought about in an article by French film critic Alexandre Astruc featured in the magazine “Cahiers du
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To what extent can the auteur theory be applied successfully to the work of Peter Jackson? Is there evidence of a characteristic authorial signature and if so what is it? To apply the term ‘auteur’ to a director who has openly claimed “I don’t quite know what an auteur is.” may seem nonsensical‚ but there is no denying that the work of Peter Jackson has proven him to be deemed an auteur. From his origins in amateur ‘splatstick’‚ Jackson’s stylistic and thematic traits have remained a constant in
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Auteur theory is one of the most argued theories in relation to film. It suggests that a director can have so much control and influence on varying aspects of a film‚ that they are considered to be the “author” of that film‚ even more so than the screenwriter themselves. Directors are often only considered to be auteurs if there is a similar theme or style in relation to any aspect of film across several of their films. In Theories of Authorship: A Reader’ (1981) Caughie stresses the use of a director’s
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