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He is frequently cited as one of the greatest filmmakers in cinematic history.
- Pdf Stanley Kubrick A Narrative And Stylistic Analysis Second Edition
- Film Analysis: A Comparison among Criticism, Interpretation, Analysis and Close Analysis
- Stanley Kubrick: A Narrative and Stylistic Analysis
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Pdf Stanley Kubrick A Narrative And Stylistic Analysis Second Edition
Hou Hsiao-hsien: A new video lecture! How Motion Pictures Became the Movies. Constructive editing in Pickpocket : A video essay. Rex Stout: Logomachizing. Lessons with Bazin: Six Paths to a Poetics. Murder Culture: Adventures in s Suspense. Mad Detective : Doubling Down. Nordisk and the Tableau Aesthetic. Re Discovering Charles Dekeukeleire. Doing Film History. Anatomy of the Action Picture. Film and the Historical Return. Studying Cinema. On the History of Film Style.
Second edition, Chicago: University of Chicago Press, Christopher Nolan: A Labyrinth of Linkages. First edition, Planet Hong Kong. Berkeley: University of California Press, Film Art: An Introduction. Textbook written with Kristin Thompson and Jeff Smith. Film History: An Introduction. Textbook written with Kristin Thompson first-named author. I discuss it a bit in Reinventing Hollywood , my book on s storytelling, but it developed and spread out most vigorously from the s on.
The big job is likely to be endangered by a man telling his wife or mistress too much, and then the police or rival gangs may interfere. Will a boyfriend try to spoil the caper?
The reason is that clever storytelling is encouraged in this genre. I argue in Reinventing that Hollywood filmmaking uses a sort of variorum principle, a pressure to explore as many narrative devices as possible within the constraints of tradition. Stretching out from it are less central, fuzzier cases. Louis, and My Fair Lady. At the periphery are movies with a single song or dance number. Of course the category changes across history; a critic in might have picked North by Northwest as a prototypical spy thriller, but ten years later a Bond film would have probably held that place.
There are robberies in films about Robin Hood and gentleman thieves like Raffles and the Saint. First, the plot is structured around the big caper, though there might be lesser crimes enabling it, such as stealing weapons.
Second, the viewpoint is organized around the criminals, not the detectives who might pursue them, as in a police procedural. By these criteria, High Sierra , although allied to the bandit tradition, fits because most of the film concerns a single robbery, its preparations and aftermath. Westlake shrewdly goes on to note that the interest of a heist plot inverts that of the traditional locked-room detective story.
Instead of wondering how something difficult was done, we wonder how something difficult will be done. Most critics consider The Asphalt Jungle novel, ; film, a solid prototype.
A gang of varying talents is assembled and funded to pull off a jewel robbery, which succeeds partly at first and eventually fails. Here an alienated loner finds that his long-ago girlfriend has married a local crook.
To get her back, the hero agrees to be the inside man in a robbery of the armored truck he drives. The heist goes badly, with the hero shooting the gangster and getting shot himself. These storytelling options, ingredient to any narrative whatsoever, will shape how the heist plot is handled.
For convenience we can distinguish five parts. Circumstances lead one or more characters to decide to execute a heist robbery, hijacking, kidnapping. As a group they are briefed and prepare their plan. They study their target, rehearse their scheme, or take steps to make it easier.
There are other conventions, nicely laid out by Stuart Kaminsky in and more recently by Daryl Lee. Four films in the period covered in my book point toward the heist genre, though only one became a core instance. The earliest candidate is an unlikely one. In Laura and S. Perelman mounted a notably unsuccessful play called The Night Before Christmas , a farce in which crooks buy a luggage store in order to tunnel from its basement into the bank vault next door.
Although Paramount was a backer of the stage show, Warners bought the rights and revamped it for Edward G. Robinson, who had had success in gangster comedies like A Slight Case of Murder The adaptation, Larceny, Inc. Woody Allen swiped the premise for his Small-Time Crooks Actually, two precursors of The Asphalt Jungle display remarkable complexity.
The simpler one, Criss Cross , starts late in the preparation phase: the night before the caper, when the gang is holding a party to distract a local cop who has his eye on them.
The next day, Steve is driving the armored car and recalling how he got into this situation. Next comes the planning phase. The robbers assemble and the task is reviewed by a mastermind they hire. This second flashback ends and, back in the present, we see the heist itself.
The aftermath of the bloody robbery shows Steve in the hospital, honored by the community. A thug kidnaps him and takes him to Anna. Slim has survived the gun battle and finds the couple; he kills them before he is mowed down by the police.
Early as Criss Cross is in the history of the film genre, the plot components are already being scrambled. Moreover, in most films, the decision to pull the heist is made fairly early.
Here and in the novel, circumstances slowly force Steve to rescue Anna from the man who mistreats her. The buildup to this decision consumes nearly fifty minutes of an minute movie.
Similarly, the aftermath of the heist is quite protracted, running about twenty minutes. And whereas other films and novels dwell on the recruitment of thieving talent, here this is elided. The Killers is even more complex because it clamps the block construction of Citizen Kane onto the heist schema.
We start with one bit of the heist aftermath: the death of the gas-station attendant Ole. Like Kane, who also dies in his bed at the start of his film, Ole is the protagonist of the past-tense story. We next meet the protagonist of the present-time story, the insurance investigator Riordan, who functions like the reporter Thompson in Kane, and sometimes even gets the same silhouette treatment. The heist itself is very brief, running only about two minutes, and the planning phase is only a little longer.
As in Criss Cross , the leadup and the aftermath constitute the bulk of the film, but these phases are broken up into many bits, and these are often shuffled out of chronological order. We have to reconstruct the canonical sequence, from circumstance to aftermath, out of fragments revealed in testimony taken by Riordan.
In addition, they downplay the planning and execution phases. The heist scenes are relatively minor compared to the time devoted to other phases, particularly the circumstantial buildup.
The emphasis falls on Steve and Ole, both played by Burt Lancaster, as the beautiful losers who become suckers for treacherous women and their brutal men. By contrast, the linearity of The Asphalt Jungle throws the plot template into crisp relief. Both novel and film offer a full-blown enactment of central features picked out by Stuart Kaminsky. The gang, despite low social standing, has many skills.
The caper is partly successful but largely a failure, often through sexual weakness on the part of some players. New roles are assigned that will be staples of the genre—financier, go-between, bent cop, owner of a safe house. We see policemen of all ranks, a news reporter, the master mind Dr. Riedenschneider, the fixer Cobby, the bankroller Emmerich who has a wife, a mistress, and a hired detective , and the four men on the team, two of whom have women attached.
The novel lays out the canonical action phases with surgical efficiency. Over a hundred pages are devoted to setting up the circumstances and recruiting the gang. The aftermath, tracing the outcome for all involved, runs another pages. It moves briskly among the ensemble, attaching us to several in turn, so we know more than any one character does.
The narration creates parallels among the team members and their affiliates such as four women of different classes, with varying commitments to their men.
The result is something of a network narrative, a cross-section of several people whose lives change because of the robbery. Riedenschneider has the most screen time, but the film begins and ends with the hooligan Dix, and the fate of both men dominates the climax. I point out in Reinventing Hollywood that a multiple-protagonist film often gives extra weight to one or two characters.
With The Asphalt Jungle as a robust prototype, writers and filmmakers developed the heist plot throughout the s and s.
Film Analysis: A Comparison among Criticism, Interpretation, Analysis and Close Analysis
This sort of divided reception illustrates the impact of the film on popular culture. Eder continues to examine how the choice of perception shapes the emotions of the viewer. This creates a strange relationship between the viewer and Alex. Eder is suggesting a crucial relationship that exists, in the film, between perception, consciousness, and empathy. In an interesting way the audience feels empowered relative to the old man. The medium of literature becomes less impacting in scenes such as this.
STANLEY KUBRICK A Narrative and Stylistic Analysis New and Expanded Second EditionMARIO FALSETIOWestport, Connecticu.
Stanley Kubrick: A Narrative and Stylistic Analysis
Hou Hsiao-hsien: A new video lecture! How Motion Pictures Became the Movies. Constructive editing in Pickpocket : A video essay.
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There not only the pictorial structure of the shots, but also the structure of the entire film is very interesting. The film has three main parts. Many scenes of the first part come again but in a mirrored version; now Alex is the victim.
Садитесь! - рявкнул Нуматака. Она опустилась на стул. - В четыре сорок пять ко мне на личный телефон поступил звонок. Вы можете сказать, откуда звонили? - Он проклинал себя за то, что не выяснил этого раньше.
Молоденькая, изысканной внешности, ну прямо сошла со страниц журнала Севентин.