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Vacirca, Silvia <1981>. "Stanley Kubrick: architetture dello spazio." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3058/.
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Saengprapan, Pichaiwat. "Le décor chez Stanley Kubrick." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20064.
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S’interroger sur le décor de cinéma parait ouvrir un champ de recherche illimité, surtout lorsqu’il s’agit de la création cinématographique de Stanley Kubrick. Indéniablement le décor nous transmet l'état émotif des personnages, illustre l’ambiance des séquences et est même source de jouissance esthétique. Le décor de cinéma chez Kubrick apparaît alors comme un élément prépondérant de son langage cinématographique. Certains décors de ses films font même partie de notre mémoire cinématographique collective. Parmi ses treize longs métrages, cette recherche analyse plus précisément le décor dans A Clockwork Orange / Orange mécanique (1971), décor aussi polémique que le film lui-même. Avec une approche pluridisciplinaire : cinématographique, esthétique, sémiologique, sociologique, historique, cette recherche montre le caractère symbolique et esthétique du décor qui est lié à son aspect iconique, plastique et à son rapport à l’élément sonore du film. L’objet principal est de faire comprendre le « sens » du décor et la façon de le construire au sein du film. L’étude du décor chez Kubrick permet de connaître ses sources d’inspiration et son goût pour l’architecture, le design et les Arts. De surcroît, cette recherche atteste son caractère perfectionniste grâce auquel il est considéré comme l’un des plus grands cinéastes visionnaires de l’histoire du cinémaQuestions on film sets always seem to open up new fields of research, especially when the film is by Stanley Kubrick. Certainly, his scenic design conveys the emotional state of the characters illustrates the atmosphere of the sequences and even arouses our aesthetic pleasure. Kubrick’s film sets are a dominating element for his film language. Many of them are a part of our collective film memory. Among his thirteen films, this research focuses on the scenic design in A Clockwork Orange / Orange mécanique ( 1971 ) which caused as much debate as the movie itself. Thank to a multidisciplinary approach: cinematography, aesthetics, semiology, sociology, and history of art, this research shows the significance and artistic value of the film sets which are linked to its iconic and plastic aspects and to its relationship with sound. The main objective is to clarify the "meaning" of the film sets and the way they are conceived within the movie. The study of the Kubrick’s film sets allows us to know his artistic tastes, his sources, classical and contemporary, of architecture, design and Arts. Furthermore, this research gives evidence of his perfectionist character, thanks to which he is considered as one of the greatest visionary filmmakers of cinema’s history
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Thompson, Andrew William. "Stanley Kubrick and the American Myth." Thesis, Boston College, 2011. http://hdl.handle.net/2345/1962.
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Thesis advisor: John MichalczykStanley Kubrick explored and subverted the concept of American Myth throughout his filmography. American Myth may include the notion of social mobility (the American Dream), the archetypal gunslinger of the American West, the righteousness of a democratic system, a belief in social egalitarianism, and explicit foreign policies such as the Monroe Doctrine and the idea of Manifest Destiny. Kubrick’s Paths of Glory is an indictment of modern war and the commoditization of human lives. Dr. Strangelove demonstrates a uniquely American obsession with technology, proving innovation is not always progress. Finally, with Full Metal Jacket, Kubrick shows Vietnam has supplanted the West as America’s frontier, complete with gunplay between cowboys and native inhabitants
Thesis (BA) — Boston College, 2011
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Film Studies
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Fischer, Ralf Michael. "Raum und Zeit im filmischen Œuvre von Stanley Kubrick /." Berlin : Gebr. Mann Verlag, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3190068&prov=M&dok_var=1&dok_ext=htm.
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Fischer, Ralf Michael. "Raum und Zeit im filmischen Oeuvre von Stanley Kubrick." Berlin Gebr. Mann, 2006. http://d-nb.info/991631412/04.
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Aziza, Samy. "Approche philosophique du nihilisme dans l'oeuvre de Stanley Kubrick." Paris 1, 2008. http://www.theses.fr/2008PA010653.
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Le pessimisme parfois radical des oeuvres de Kubrick et sa vision désabusée de la nature humaine lui valurent souvent d'être taxé de nihiliste. Pourtant, il ne se reconnaissait pas dans cette description. Dans un premier temps, nous nous proposerons de définir le champ philosophique de notre étude en nous appuyant principalement sur les travaux de Nietzsche et de Heidegger. Dans un deuxième temps, nous nous efforcerons de montrer en quoi le nihilisme est effectivement l'un des principaux thèmes du cinéma de Kubrick. Une première partie sera consacrée au nihilisme actif dans des films tels qu'Orange Mécanique et Docteur Folamour. Une deuxième partie recentrera l'analyse sur le nihilisme passif qui traverse des films tels que 2001 : l'odyssée de l'espace et Full Metal Jacket. La dernière partie sera une réflexion sur la manière dont Kubrick envisage le nihilisme extatique et s'interroge sur la destination finale de ['homme dans des films tels queShining, Eyes Wide Shut et 2001
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Marcolino, Marcio Cardoso. "O compositor Stanley Kubrick: análise do som no filme De olhos bem fechados de Stanley Kubrick através da teoria sonora de Michel Chion." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/JSSS-8ZFPVQ.
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This present work proposes the analisys of the film Eyes wide shut (1999) of Stanley Kubrick under the aspect of the intersection of the sound and image languages beyond the categories of sound theory´s Michel Chion. The sound context of film suggest a specific analysis in parallel with the filmic narrative of Kubrick, pointing him like a composer of soundtrack, increasing sound, giving it meaning in front of images.The way adopted came with the sound plans graphic plans of film sequences, showing on time, music, sound effects and voice to study the form like the director use sound like a semantic tool.Esta dissertação de mestrado tem como objetivo analisar o filme De olhos bem fechados de Stanley Kubrick sob o aspecto da interseção das linguagens sonora e imagética através das categorias da teoria sonora de Michel Chion. O universo sonoro do filme sugere uma análise específica em paralelo com a narrativa fílmica estabelecida por Kubrick, apontando o diretor como um compositor da trilha sonora, ao potencializar o material sonoro, dotando-o de significado frente às imagens. A metodologia adotada parte dos planos sonoros planilhas gráficas das seqüências do filme, explicitando no tempo, música, efeitos sonoros e voz para estudar a forma como o diretor utiliza o som como uma ferramenta semântica.
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Roblou, Yann. "La violence du langage dans les films de Stanley Kubrick." Paris 10, 1997. http://www.theses.fr/1997PA100021.
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La violence est un phenomene facilement identifiable mais un concept evanescent. Elle nous semble constituer l'essence meme du travail du cineaste stanley kubrick. En partant d'une mise en relation de la violence et du langage, nous avons tente de montrer que, dans le cadre de son oeuvre, ces deux termes conditionnent une esthetique formelle aussi bien que thematique. En effet, le langage cinematographique utilise par le realisateur porte des marques evidentes du rapport entre la violence et l'image, le son, le montage et le champ referentiel. On peut trouver egalement des exemples d'une violence symbolique concernant le corps humain, le mecanique, le pouvoir et la mort. Enfin, il est possible de degager de l'oeuvre de kubrick une reflexion qui passe par la mise en scene de l'oeil et du regard pour aboutir a une prise de conscience de la part du spectateur du role qu'il a a jouer dans sa relation avec le filmViolence is an easily identifiable phenomenon but an evanescent concept. It seems to constitute the very essence of filmmaker stanley kubrick's work. Beginning with the interaction of violence and language, we have tried to show that, in the context of his films, these two terms condition a formal as well as a thematic aesthetics. As a matter of fact, the cinematographic language used by the director bears evident marks of the relation between violence and pictorial composition, sound, editing and field of reference. We can also find examples of symbolic violence concerning the human body, machines, power and death. Finally, it is possible to notice the emergence of a reflection, through the dramatization of the eye and of the activity of vision, leading to the spectator's awareness of the part he has to play in his relation to the film
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Sa, Leonor da Cruz e. "Figuração e invisibilidade: uma leitura de \'De olhos bem fechados\' de Stanley Kubrick." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17102007-153102/.
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Para filmar o último filme de sua vida, Stanley Kubrick baseou-se na novela de Arthur Schnitzler, \"Breve romance de sonho\" (1926), fato que já requer atenção: como filmar em 2000 um filme baseado em um livro escrito no final do século XIX? Como mostrar as questões de uma classe social tão marcante, naquela época em transformação e consolidação, agora no século XXI ? Kubrick definiu o livro como sendo o romance sobre o medo. Uma questão é tentar responder a qual medo ele se referia? O tema da sexualidade forte no romance e no filme e a relação clara entre Schnitzler e Freud fazem pensar na relação que hoje temos com a sexualidade e podem servir como chaves para algumas respostas. A questão de figuração e opressão são fundamentais neste trabalho.To film the last film of his career, Stanley Kubrick was based on the novel of Arthur Schnitzler, \"Traumnovelle\" (1926), fact that already requires attention: how to film in the year 2000 a film based on a book written in the end of 19th century? How to express the problems of a social class from a period in transformation and consolidation in the 20th century? Kubrick defined the book as being a romance on fear. An objective can be defining the fear that is mentioned. A present subject in the romance and the film is sexuality and a clear relation between Schnitzler and Freud. The problem of oppression is basic in this paper.
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Ezequiel, Maíra Cínthya N. "Entre cinema e pintura: o realismo plástico de Stanley Kubrick em Barry Lyndon." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4858.
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Previous issue date: 2007-03-02This investigation searches for the effects of meaning resultants from the use of plasticity as a method for creating the visuality in the movie Barry Lyndon, by Stanley Kubrick (1975), and, at the same time, the intersemioticity that emerges from the blending of the aesthetic languages of cinema, painting and literature here involved. Concerning the methodology, it is based on a group of aesthetic and semiotic theories which include, especially, the model for analysis of meaning in visual arts proposed by Erwin Panofsky, the bonds between cinema and painting noted by Jacques Aumont, the concept of effect of realism such as formulated by Roland Barthes and of intersemiotic translation introduced by Roman Jakobson (and later redeveloped by Julio Plaza). The aim of this research is to follow the process of production of a realistic effect on the passages between one language and another. The hipothesis risen is that the strong sense of verosimilitude that results from the final product borrows its mode of installation from some of the eighteenth century realistic French painting. The choice of the movie is due to its stated visual exuberance as a result of a sophisticated dialogue established between the careful light capture and the rigorous use of pictorial references in correspondence with the historical time of the action, precisely the works Constable, Courbet, Corot and the so-called Barbizon Painters. Finally, Por fim, it drafts na approach between Kubrick s work and the idea of Modernity as thought by Baudelaire
O trabalho investiga os efeitos de sentido decorrentes do uso da plasticidade como método de construção da visualidade no filme Barry Lyndon, de Stanley Kubrick (1975), e, em paralelo, a intersemioticidade resultante do entrecruzamento das linguagens do cinema, da pintura e da literatura aí em jogo. Metodologicamente, ampara-se num conjunto de teorias estéticas e semióticas que envolvem, principalmente, o modelo de análise do significado nas artes visuais proposto por Erwin Panofsky, as aproximações entre o cinema e a pintura feitas por Jacques Aumont, o conceito de efeito de real tal como formulado por Roland Barthes e o de tradução intersemiótica introduzido por Roman Jakobson (e depois retomado por Julio Plaza). O objetivo da pesquisa é acompanhar o processo de produção de um efeito de real nas passagens entre uma e outra linguagem. A hipótese é que o forte efeito de verossimilhança que resulta deste filme toma emprestado da pintura realista francesa do século XVIII seu modo de se instalar. A escolha do filme deve-se à constatação de sua exuberância visual como resultado de um sofisticado diálogo estabelecido entre a minuciosa captação da luz e o rigor na utilização de referenciais pictóricos encontrados na pintura correspondente ao tempo da ação, mais precisamente nas obras de Constable, Courbet, Corot e dos Pintores de Barbizon. Por fim, esboça-se uma aproximação entre o trabalho de Kubrick e o que Baudelaire chamou de Modernidade
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Carvalho, Francisco Egydio de. "O cinema como experiência sinfônica = a partitura orquestral do filme "O iluminado", de Stanley Kubrick." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283957.
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Orientador: Francisco Elinaldo TeixeiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente estudo tem como objetivo estabelecer uma aproximação entre cinema e música no que concerne aos mecanismos de produção de sentido articulados por ambas as artes. A partir dos conceitos de imagem-movimento e imagem-tempo, concebidos por Deleuze através das teorias de representação da matéria de Bergson, o estudo propõe defender a idéia de que a narrativa encampada pela imagem pode ser lida e compreendida também como uma partitura musical sinfônica, aproveitando, para tanto, os estudos de André Parente sobre a narratividade fílmica
Abstract: The goal of present study is to establish a bridge between cinema and music concerning in particular the generating mechanisms of articulated senses in both art forms. From the concepts of image-moviment and image-time, determined by Deleuze through Bergson's representation of matter theories, this work sets to defend the idea that the narration expropriated by image can be read and equally understood as a symphonic music score, taking advantage for such analysis of Andre Parente's studies about the filming narrative
Mestrado
Mestre em Multimeios
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Gulias, Max Strickland Ronald. "It's alive, it's alive authorship as late capitalist fetish /." Normal, Ill. : Illinois State University, 2005. http://proquest.umi.com/pqdweb?index=0&did=1225101241&SrchMode=1&sid=6&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1176211895&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2005.Title from title page screen, viewed April 10, 2007. Dissertation Committee: Ron Strickland (chair), Chris Breu, Hilary Justice. Includes bibliographical references (leaves 166-183) and abstract. Also available in print.
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Girardi, Bertrand. "L'imaginaire lumineux : un corps de l'image entre fiction et documentaire : le style kubrick." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30013.
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L’image, qu’elle soit picturale, photographique ou bien encore cinématographique, télévisuelle ou numérique, doit composer avec l’élément lumière. Cependant, il n’est pas question de considérer la lumière dans l’image sans faire appel à sa représentation matérialisée : le lumineux. En effet, une fois impressionnée dans le cadre, la lumière devient la réalité de l’image, un corps, c’est-à-dire une luminosité transitoire, comme une émanation entre présence et absence. Il est alors possible de constater, en suivant différents styles cinématographiques, soit un lumineux factuel, soit un lumineux d’éclairage. Ces deux grands corps lumineux appartiennent à un même objet ou sémème (le lumineux), et constituent un nouveau foyer dans l’espace de la réception. Le lumineux et son ombre peuvent-ils être d’une quelconque utilité dans la distinction complète entre fiction et documentaire ? La mise en analyse du lumineux dans les films de Stanley Kubrick propose de lire le film de fiction sous un nouveau jour, et d’appréhender le film documentaire selon de nouveaux critères. Le spectateur peut y gagner un regard neuf sur le langage filmique. De plus, la mise en avant du corps lumineux comme signe langagier de l’image soulève l’importance de l’imaginaire dans la réception du discours filmique. Prendre conscience, au travers d’une perception du lumineux, d’un rapport plus ou moins fort avec la réalité ou l’imaginaire peut aider à une meilleure connaissance du monde (mental, imaginaire ou physique)Picture which is pictural, photographic, cinematographic or televisual wathever numeric should compose with light composent. However, it is not a matter of light inside picture without colling its materialized representation : the luminous. Indead once impressed with the scope light becomes the picture reality, a materiality. That means a transitority like a emanation between presence and absence. Than we could considerer luminous factuel or luminous of lighting. These huge materialities belong to same object or sememe (luminosity) and constitute a new type of hearth in the space of reception. Can the luminous and its shadow be of an unspecified utility in the entire distinction between fiction and documentary ? The setting in analysis of luminous in Stanley Kubrick films propose to read fictionnal films under a new approach and to apprehend documentary film according to new criterials. The spectator can gain a new glance there in the filmic language. More ever, the setting in front of luminous element like signs linguistic image, rise the importance of imaginary in filmic discourse reception. Becoming conscious, through perception of the luminous of more or less relationship with reality or imaginary, can help to get a better understanding of the world (mental, imaginary or reality)
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Lee, Nara. "Matière et fluidité dans le cinéma contemporain : Stanley Kubrick, Alexandre Sokourov, Tsai Ming-liang, Gus Van Sant." Paris 1, 2013. http://www.theses.fr/2013PA010522.
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Cette thèse a pour objet d'éclairer la matérialité de l'image dans le cinéma contemporain, à travers les œuvres de Stanley Kubrick, Alexandre Sokourov, Tsai Ming-liang et Gus Van Sant. Pour comprendre l'apport de l'esthétique de la matière, cette étude relève les éléments de fluidité dans leurs films, mais aussi cherche à montrer comment ces cinéastes font apparaître la qualité sensible de la matière par le langage cinématographique, c'est-à-dire par l'image. La première partie étudie le rapport entre la matière et la forme dans les œuvres de Stanley Kubrick et d'Alexandre Sokourov. Dans « Shining » (1980) de Kubrick, la matière visqueuse déchire et déborde de la maison-forme, tandis que chez Sokourov, le musée-forme qui apparaît dans « Hubert Robert. Une vie heureuse » (1996), « Elégie de la traversée » (2001) et « L'Arche russe » (2002) se construit en tant qu'espace-milieu où le mouvement de la caméra dégage la perception liquide. La deuxième partie explore ce que manifestent les éléments liquides dans les œuvres de Tsai Ming-liang. L'écoulement liquide détermine pour cet auteur l'état du monde : le corps, la maison, le cinéma sont tous trois inclus dans ce régime de l'écoulement. La troisième partie étudie les variations de la consistance de l'eau dans les œuvres de Gus Van Sant. L'image de cet élément liquide devient fluide. Le cinéma rencontre le monde sensible à travers l'expressivité de la matière. En fluidifiant, le cinéma nous force à penser le monde qui se donne au changement.
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JAOUAN, SANCHEZ JAOUAN MARIE-PIERRE. "La drolerie. Comique fantastique; etude de deux effets apparemment contradictoires, centree sur l'analyse des films de stanley kubrick." Toulouse 2, 1991. http://www.theses.fr/1991TOU20071.
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Ce travail part de trois constats: -avatars de reception; -contradictions theoriques; -hybridations proliferantes: dans les oeuvres contemporaines, le melange du comique et du fantastique, que nous appelons "drolerie", prend une place considerable. Il se deroule en trois phases: -prise de reperes dans les theories antiques, modernes et contemporaines; -analyse des films de stanley kubrick, permettant de mettre en evidence certains modes d'emergence de la "drolerie", et d'apprehender toute une serie de degres entre le comique cauchemardesque de dr strangelove et le fantastique ironique de shining; -deploiement de l'analyse en fonction de trois axes, la repetition, le sujet, le sens. En prenant des references dans differents champs de creation, il nous a semble possible d'affirmer qu'il existe une familiarite essentielle entre comique et fantastique, ces deux effets reposant sur la meme possibilite (le meme risque) de priver la figure d'autrui de sa signification humaine. La reconnaissance de cette familiarite, plus visible et plus presente aujourd'hui que naguere conduit a poser un dilemme: pensee de la perte ou pensee de la crise (par ou l'esthetique se trouve liee a l'ethique)This work is settled on three established facts: -receiving avatars; -theoretical contradictions; -proliferating hybridization: into the contemporary works, the mixture of fantastic and comic we call "drolerie" takes an eminent place. It is developed in three stages: -points of reference taken from antique, modern and contemporary theories; -the analysis of stanley kubrick's films can be used to show some ways in which the "drolerie" emerges, and to understand the different degrees between the nightmarish comic of dr strangelove and the ironic fantastic of shining; -an unfolding of three directions, repetition, subject, meaning, with references taken from different creative fields seems possible to assert that there is a strong familiarity between comic and fantastic, those two effects lying on the same possibility (the same risk) of removing the human signification of someone's face. To allow this familiar meaning, clearer and more present now than before, leads to a dilemm: thinking of loosing or thinking of crisis (how are aesthetics and ethics connected)
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Pita, César. "CineScrúpulos (Año 1. Número 2. Abril de 2013)." Universidad Peruana de Ciencias Aplicadas (UPC), 2013. http://hdl.handle.net/10757/625039.
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CineScrúpulos es una revista digital que recopila los trabajos desarrollados por los alumnos en la clase de Historia del Cine de la Facultad de Comunicaciones de la UPC. El curso no pretende brindar una visión historicista del cine repleta de fechas, nombres de directores, títulos de películas y lugares exóticos, sino que intenta evidenciar la linealidad casi genética que es intrínseca al quehacer fílmico, una tradición que no solo se repite sino que se reinterpreta en distintos escenarios y en distintos momentos. Porque se entiende que el cine es, ante todo, la herencia permanente de lo que se ha hecho antes.
Los textos de la revista CineScrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web y el uso de las mismas se inscribe en lo estrictamente académico y divulgativo.La presente edición de Cinescrúpulos se centra en la obra de Stanley Kubrick, excéntrico y extraño, alejado de los reflectores en los últimos años de su vida pero entregado en cuerpo y alma al entorno familiar. El director legó una filmografía del crecimiento, del descubrimiento, del enaltecimiento de la experimentación, del regocijo que origina evitar los formulismos del género, de encontrar la independencia tras haber flirteado con el monstruo corporativo, de no hacerle ascos al terror o al erotismo, de jugar cada una de sus piezas con la maestría del ajedrecista nato que era. También nos damos un tiempo para descubrir los vínculos que existen entre el cine de Charles Chaplin y la construcción de personajes y narrativas que han encumbrado a Pixar como una de las opciones más inteligentes en el terreno de los dibujos animados de los últimos años. Y como broche de oro, una pregunta válida: Francisco Lombardi, nuestro cineasta con la mayor cantidad de títulos estrenados en salas, ¿estará construyendo un cine de género en el Perú o apunta más bien hacia otro lado?.
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Caplinger, James C. "Oz wide shut : an exploration of gender and master narratives in Stanley Kubrick's final film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1107791166.
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Saçashima, Edilson Atsuo. "A questão da \'violência\' no Cinema de Stanley Kubrick: análise dos filmes \'Laranja Mecânica\', \'Barry Lindon\' e \'O Iluminado\'." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-03062008-151100/.
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Este trabalho investiga três filmes do cineasta Stanley Kubrick: Barry Lyndon, O Iluminado e Laranja Mecânica. Do fluxo incessante de imagens desses filmes buscaremos destacar aqueles que nos permitam discutir a questão da violência. Em nosso trabalho, não nos apoiaremos em um conceito prévio de violência. O que buscamos será discutir o problema que essa expressão nos reserva. Assim, acreditamos que também poderemos compreender um dos fenômenos constituintes da sociedade moderna.This work investigate three Stanley Kubrick\'s movies: Barry Lyndon, The Shining and A Clockwork Orange. From the incessant flux of images, we\'ll try to detach those that can allow us to discuss the question about violence. In our work, we won\'t be supported in a previous concept of violence. What we\'ll want is to discuss the problem this expression represents. So we believe to be capable of to be apprehend one of the constituent phenomena of modern society.
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Streitlien, Albin, and Joel Tromark. "The Shining - Gestaltningen av det obehagliga : En analys baserad på Stanley Kubricks filmadaption av The Shining." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35759.
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Syftet med denna uppsats är att reda ut hur Stanley Kubricks filmadaption av The Shining(1980) har lyckats framställa känslor av obehag. Utredningen sker genom en analys av trespecifikt utvalda sekvenser ur filmen. Analysen arbetar utifrån en kvalitativ metod och despecifika huvudområden som analysen utgår ifrån är de audiovisuella aspekterna, det villsäga fotografi, ljussättning, ljudläggning och musik. Dessutom är Sigmund Freudspsykoanalytiska begrepp ”The Uncanny” (det kusliga) en viktig utgångspunkt i analysen.Kombinationen av de konkreta och psykologiska aspekterna kan således bidra till endjupare förståelse och redogöra för hur filmen lyckas framkalla känslor av obehag.Resultatet av analysen påvisar hur de audiovisuella aspekterna har utgått frånokonventionella metoder i gestaltningen. Känslor av obehag har skapats på ett icketraditionellt vis, exempelvis genom fotografiets fördelaktiga nyttjande av kontinuitetsfelsom avsiktligen försöker desorientera publiken. The Uncanny hjälper till att förmedla ettdjupare psykologiskt tema och att gestalta de oförutsägbara aspekterna. De familjäraaspekterna bär i själva verket på en icke-familjär kontext vilket gör det betydligt svårareför publiken att urskilja det goda mot det onda. Detta framkallar på så vis en känsla avovisshet hos publiken, vilket medför en betydligt mer obehaglig innebörd av filmen. Islutsatsen påpekas dessutom hur de konkreta och abstrakta aspekterna har ett kontinuerligtsamspel med varandra, exempelvis fotografiet som åskådliggör de psykoanalytiska teorierna.
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Caplinger, James C. "Oz Wide Shut: An Exploration of Gender and Master Narratives in Stanley Kubrick’s Final Film." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1107791166.
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REMY, EMMANUEL Vidailhet Colette. "STANLEY KUBRICK LA RAISON ET LA PASSION, L'ORDRE ET LE CHAOS OU LA QUETE DE L'INACCESSIBLE ABSOLU ET L'INEVITABLE FACTEUR HUMAIN /." [S.l.] : [s.n.], 2000. http://www.scd.uhp-nancy.fr/docnum/SCDMED_T_2000_REMY_EMMANUEL.pdf.
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Jaunas, Vincent. "La subjectivité au prisme de la réflexivité dans l'oeuvre de Stanley Kubrick : de "2001 l'Odyssée de l'espace" à "Eyes Wide Shut"." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30059.
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Cette thèse ambitionne d’interroger la notion de subjectivité dans la seconde moitié de la filmographie de Stanley Kubrick. Il s’agit d’explorer la façon dont le cinéaste, de 2001 : L’Odyssée de l’espace (1968) à Eyes Wide Shut (1999), fait montre d’une myriade d’effets réflexifs interrogeant, tant la dynamique au cœur de la subjectivité spectatorielle, que celle de l’entité auctoriale dont la présence surplombante s’irradie dans chaque film, et ce pour mettre à jour la façon dont l’œuvre de Kubrick se caractérise, par-delà sa grande variété de tons et de thématiques abordées, par une exploration sans relâche de la difficile relation qui unit, et parfois sépare, le sujet et le monde. Je suggère que chaque œuvre explore la relation entre une subjectivité portée par un désir de simplicité, d’homogénéité et d’unicité, et un réel complexe, polymorphe et ininterprétable. Cette analyse prend appui sur une variété d’approches méthodologiques (la narratologie côtoie la psychanalyse, la philosophie, la sémiotique, les études de la réception ou encore les études actorales) et tire également profit de l’importante ressource documentaire disponible aux Archives Stanley Kubrick (University of the Arts London). Elle résulte d’une volonté d’exploiter les voies ouvertes ces dernières années par la recherche kubrickienne, notamment grâce au travail en archives, pour offrir une analyse textuelle enrichie par cet apport. Ainsi, des considérations extra-filmiques telles que l’étude de la persona du cinéaste ou du processus de production des œuvres, viennent compléter l’analyse textuelle des films eux-mêmesThis doctoral dissertation aims at questioning the notion of subjectivity in the second half of Stanley Kubrick’s filmography. I explore the way the filmmaker, from 2001: A Space Odyssey (1968) to Eyes Wide Shut (1999), displays a myriad of reflexive effects which question the dynamics at the heart of both spectatorial and auctorial subjectivities (the presence of the latter infusing all the films of the corpus) and reveal how the films articulate a reflection on the relationship uniting (or separating) the subject and the world. I argue that the films, beyond their apparent diversity, all display an opposition between a subjectivity driven by a wish for simplicity, unity and homogeneity, and the complex, heterogeneous and polymorphous nature of reality. This analysis relies on a variety of methodological approaches – from narratology to psychoanalysis, philosophy or semiotics, from reception studies to actor studies – and also exploits resources available at the Stanley Kubrick Archives (University of the Arts London). This dissertation stems from the desire to exploit the various paths recently opened by Kubrickian scholarship (notably drawing on archival material) so as to provide a textual analysis fuelled by the findings of recent empirical studies. Thus, extra-filmic considerations such as the study of Kubrick’s persona or of the films’ production processes complete a textual analysis of the works themselves
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Bertrand, Jean-Michel. "2001 L'Odyssée de l'espace : puissance de l'énigme." Dijon, 2004. http://www.theses.fr/2004DIJOL020.
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La dimension énigmatique de 2001 l'odyssée de l'espace est constitutive de la puissance artistique du film, qu'il est possible de définir comme passage sensible des idées. Aussi, le présent travail ne vise pas à la dissiper en l'élucidant ou en l'éclairant (comme on résoudrait un problème), mais à en déployer la consistance. La naissance de la pensée présentée comme intervalle et déploiement du temps, la communication verbale représentée comme discours neutralisant, injonctif, instrument d'assujettissement et perte d'un contact avec l'être, et enfin, la mise en jeu de nouvelles formes de la sensibilité ouvrant sur le sublime dynamique sont autant de moments qui dépassent la simple efficacité narrative du film. Ils permettent l'exploration des liens que l'homme est susceptible de nouer avec le monde et lui-même, et se développent en un récit fragmenté qui réfléchit les pouvoirs des signes, du cinéma et de l'art.The enigmatic dimension of 2001 a space odyssey falls within its artistic power, which can be defined as sensitive passage of ideas. Yet, the present work doesn't intend to clear away that dimension by elucidating or lighting it up (as one would solve a problem), but to display its substance. The dawn of thinking, set out as interval and deployement of time, verbal communication, set out as neutralizating, commanding speech, subjugating tool and waste of contact with being, and eventually the display of new senstitive forms that focus on the dynamic sublime compose as many moments that exceed the mere narrative efficiency of the movie. They enable an investigation of the connections man can make with the world and himself, and spread out in a fragmented story which reflects the powers of art, signs and cinema
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Carvalho, Caio M. G. de. "Uma retórica a serviço da morte e da vida: estudo de um idioleto de background metafórico e metonímico no cinema de Stanley Kubrick." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21329.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Based on the filmography of the director Stanley Kubrick (short-films excluded), the present work focuses on exposing and analyzing a framework of intertextual relations (our empiric object) which are established movie-by-movie, from the point where it is allowed to suppose a metaphoric code through Kubrick’s filmography. It was aimed to demonstrate how this intertextual network reveals an ‘own’ Kubrickian code (defined as idiolet in his filmography), by gathering the filmmaker’s thirteen full-length movies (our study corpus) and correlating them to several metaphorical amalgams with the <
Voltada à filmografia do diretor Stanley Kubrick (excetuando seus curtas-metragens), esta pesquisa busca expor e analisar um quadro de relações intertextuais (nosso objeto empírico) que nela se estabelecem, de filme a filme, a partir do qual se permite supor um código metafórico ao longo do conjunto da obra deste diretor. Procura-se demonstrar como esta rede intertextual revela um código ‘próprio’ kubrickiano (definido como um idioleto na filmografia) a unir os treze longas-metragens do cineasta (nosso corpus de estudo) em torno de vários amálgamas metafóricos com o semema <
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Werner, Kjellberg Petra. "Musik och Film : Ett möte mellan två konstformer i Stanley Kubricks ”2001 – a Space Odyssey” och Woody Allens ”Manhattan”." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7036.
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Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function.
The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics.
I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation.
In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.
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Batista, Fernanda Cristina Araújo. "Lolita de Ramsdale x Lolitas de Hollywood: uma análise do romance de Vladimir Nabokov e das adaptações fílmicas de Stanley Kubrick e Adrian Lyne." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2318.
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Previous issue date: 2010-08-12Fundo Mackenzie de Pesquisa
This paper aims at analyzing the relation between Vladimir Nabokov s novel Lolita (1955) and Stanley Kubrick s and Adrian Lyne s film adaptations of the novel, the former released in 1962 and the latter in 1997. We will base our study on French semiotics, also known as greimasian semiotics, to analyze the effects of meaning created by the different actantial roles played by the narrator, Humbert Humbert, in the novel and the strategies used in the filmic discourses to create the same effects in certain sequences in order to honor the original work or, on the contrary, to create different effects in order to revise it in some aspects, adapting it to their target audience, which was different from the one which had only had contact with the book because they lived in a different time and had expectations of how the movies would treat controversial subject matters that had been raised in the novel.
Esta dissertação analisará a relação entre o romance Lolita (1955), de Vladimir Nabokov, e as adaptações fílmicas, de Stanley Kubrick, de 1962, e de Adrian Lyne, de 1997. Tendo por base a teoria da semiótica de linha francesa, também conhecida como semiótica greimasiana, para tratar dos efeitos de sentido gerados pelos diferentes papéis actanciais que o narrador Humbert Humbert assume no romance e das estratégias utilizadas no discurso fílmico a fim de criar os mesmos efeitos e reverenciar a obra de base em determinadas sequências ou, pelo contrário, com o objetivo de criar efeitos diferentes como forma de revisar o texto de origem em alguns aspectos, adequando-o ao público-alvo da produção fílmica, cujo perfil é diferente devido à época em que viveram e às expectativas que tinham a respeito do modo como os filmes tratariam o tema polêmico do romance.
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Paula, Rodrigo Martini [UNESP]. "A reavaliação da Guerra do Vietnã apresentada no romance The short timer (197(), de Gustav Hasford, e em sua adaptação fílmica Fullmetal JAcket (1987), de Stanley Kubrick." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99156.
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Este projeto examina as maneiras pelas quais a obra The Short-Timers (1979), de Gustav Hasford, e o filme Full Metal Jacket (1987), de Stanley Kubrick, revisitam a Guerra do Vietnã, dessacralizando a História oficial. Em seu romance The Short Timers (1979), o veterano Gustav Hasford narra a trajetória de um soldado e de seus companheiros durante o treinamento militar e o posterior combate no Vietnã. Tomando a perspectiva desse soldado, o narrador focaliza esse episódio da história dos Estados Unidos de forma diversa da tradicional; isto é, denunciando as angústias e dores vividas pelas tropas no treinamento básico e na batalha. Stanley Kubrick dirigiu a adaptação dessa narrativa para o cinema que recebeu o título de Full Metal Jacket (1987). Nela podemos notar como a guerra é revisitada de modo crítico. O cineasta apresenta as narrativas pessoais da personagem principal. Para analisar as obras literária e cinematográfica, serão utilizados textos teóricos acerca da relação entre Literatura e História (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) e sobre Pós-Modernismo (Jameson, 1997; Hutcheon, 1989). Com base nestas teorias, propomos verificar como a Literatura e o Cinema representam a Guerra do Vietnã na contemporaneidade, mostrando diferentes pontos de vista sobre o conflito
This project investigates the ways in which Gustav Hasford’s The Short-Timers (1979) and Stanley Kubrick’s Full Metal Jacket (1987) revisit the Vietnam War rethinking official History. In his novel, The Short-Timers, the Vietnam veteran Gustav Hasford narrates the path of a soldier and his mates during military training and later combat in Vietnam. Taking this soldier’s perspective, the narrator focuses on this episode in American history differently than usual; that is, calling attention to the anguish and pains that the troops go through on training and in battle. Stanley Kubrick directed the adaptation of this work into the film Full Metal Jacket, in which can be noticed how war can be critically reevaluated. The filmmaker presents personal accounts by the main character. For the analyses, theories about the relationship between Literature and History (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) and Post-Modernism (Jameson, 1997; Hutcheon, 1989) will be used. Based on those theories, we propose to investigate how Literature and Cinema represent the Vietnam War showing other points of view about this conflict
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Paula, Rodrigo Martini. "A reavaliação da Guerra do Vietnã apresentada no romance The short timer (197(), de Gustav Hasford, e em sua adaptação fílmica Fullmetal JAcket (1987), de Stanley Kubrick /." São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/99156.
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Orientador: Giséle Manganelli FernandesBanca: Manuel Fernando Medina
Banca: Álvaro Luis Hattnher
Resumo: Este projeto examina as maneiras pelas quais a obra The Short-Timers (1979), de Gustav Hasford, e o filme Full Metal Jacket (1987), de Stanley Kubrick, revisitam a Guerra do Vietnã, dessacralizando a História oficial. Em seu romance The Short Timers (1979), o veterano Gustav Hasford narra a trajetória de um soldado e de seus companheiros durante o treinamento militar e o posterior combate no Vietnã. Tomando a perspectiva desse soldado, o narrador focaliza esse episódio da história dos Estados Unidos de forma diversa da tradicional; isto é, denunciando as angústias e dores vividas pelas tropas no treinamento básico e na batalha. Stanley Kubrick dirigiu a adaptação dessa narrativa para o cinema que recebeu o título de Full Metal Jacket (1987). Nela podemos notar como a guerra é revisitada de modo crítico. O cineasta apresenta as narrativas pessoais da personagem principal. Para analisar as obras literária e cinematográfica, serão utilizados textos teóricos acerca da relação entre Literatura e História (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) e sobre Pós-Modernismo (Jameson, 1997; Hutcheon, 1989). Com base nestas teorias, propomos verificar como a Literatura e o Cinema representam a Guerra do Vietnã na contemporaneidade, mostrando diferentes pontos de vista sobre o conflito
Abstract: This project investigates the ways in which Gustav Hasford's The Short-Timers (1979) and Stanley Kubrick's Full Metal Jacket (1987) revisit the Vietnam War rethinking official History. In his novel, The Short-Timers, the Vietnam veteran Gustav Hasford narrates the path of a soldier and his mates during military training and later combat in Vietnam. Taking this soldier's perspective, the narrator focuses on this episode in American history differently than usual; that is, calling attention to the anguish and pains that the troops go through on training and in battle. Stanley Kubrick directed the adaptation of this work into the film Full Metal Jacket, in which can be noticed how war can be critically reevaluated. The filmmaker presents personal accounts by the main character. For the analyses, theories about the relationship between Literature and History (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) and Post-Modernism (Jameson, 1997; Hutcheon, 1989) will be used. Based on those theories, we propose to investigate how Literature and Cinema represent the Vietnam War showing other points of view about this conflict
Mestre
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Failache, Mauricio José Vera. "Tecnologia, poder e violência em 2001 : uma odisseia no espaço." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7132.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The present work undertakes the film analysis of the feature film 2001: A Space Odissey (1968) of Stanley Kubrick, in wich the origin of the tool is associated with the origin and transformation of man throughout history. The Discovery and use of the tool provided a new knowledge and, along with it, a number of effects permeated by Power relations –analyzed based on diverse authors point of view, between them Michel Foucault. The literary-cinematographic genre to wich 2001: A Space Odissey belongs to, is science fiction, wich is the natural medium to social, political, economic and even religious criticism. Kubrick with this film within the sixties context, opens a new era in major productions of the genre, wich had been relied on a few technological and economic resources, and also for its high aesthetic quality both at photographic level and special effects. The narrative style is no less innovative because in a genre where everything was explained in detail, Kubrick shows a visual story, to be told through different musics and images, and not just relied on dialogs and callouts. This paper also notes the relationship between humans and their Technologies represented in the film, from the issue of the otherness as conceived by Bakhtin.
No presente trabalho, empreende-se a análise fílmica de 2001: uma odisseia no espaço,( 2001: a space oddissey, 1968) de Stanley Kubrick, na qual se representa a origem do homem associada à descoberta da tecnologia e à transformação de ambos ao longo da história. A descoberta e uso da técnica relacionam-se com um novo conhecimento (um saber) e, junto com ele, uma série de efeitos permeados por relações de poder, observadas com base no olhar de teóricos de diversas áreas, dentre eles Michel Foucault. O gênero literário-cinematográfico a que pertence 2001: Uma Odisseia no Espaço é o da ficção científica, campo das críticas sociais, políticas, econômicas e até religiosas. Kubrick, com este filme, no contexto dos anos sessenta, abre um novo tempo nas grandes produções do gênero pela sua alta qualidade estética. O estilo narrativo não é menos inovador, já que em um gênero onde tudo era explicado em detalhe, Kubrick apresenta uma história visual, a ser dita através de diversas músicas e imagens, e não somente por meio de diálogos. Este trabalho também observa a relação entre o homem e suas tecnologias representada no longa-metragem a partir da questão da alteridade tal como pensada por Bakhtin.
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Radhi, Yasser. "Att adaptera svartsjuka : En komparativ analys av hur subtext påverkats i adaptionen av romanen Dream Story till filmen Eyes Wide Shut." Thesis, Högskolan Dalarna, Bildproduktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24195.
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Subtext är en sanning gömd under ytan, som avslöjar en handling eller ords sanna mening. Hur kan en adaptionsprocess påverka subtexten då en bok tolkas om till film? Syftet med denna uppsats är att applicera en komparativ adaptionsanalys för att svara på frågan kring hur subtexten i en bok påverkas av att adapteras till film. Två kapitel och dess respektive filmscener analyseras därmed för att därefter peka ut dess subtext, detta från boken Dream Story och dess filmatisering Eyes Wide Shut. Skillnaderna i hur subtexten förmedlats pekas sedan ut i resultatet, där slutsatser kring adaptionsprocessen av subtext görs. Subtexten analyseras med hjälp av Linda Segers bok Writing Subtext: What Lies Beneath, vilket understöds med Thomas Denks teorier kring komparativa analyser i Komparativ metod – förståelse genom jämförelse. Resultatet har då pekat på att subtexten påverkats av att gå från en litterär till visuell tolkning, där mediespecifika detaljer påverkat berättandet. Dock har samma subtext i stor grad framförts i filmen, det har endast handlat om mediespecifika tolkningar.
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Wallace, Willie. "Govoreeting with Lewdies: A Critical Discourse Analysis of A Clockwork Orange and its Translations Across Media and Language." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3748.
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Much linguistic research has been done on the fictional argot of A Clockwork Orange, known as Nadsat, but few efforts have been made to expand beyond the classification and analysis of Nadsat. Using Critical Discourse Analysis, this paper looks at the overarching discourse of A Clockwork Orange and aims to answer three questions: What exigencies and discourses inform the creation of these works? What techniques and power structures are employed in the construction of these works? How do these works shape or attempt to shape the discourse? To answer these questions, I look at three instances of the discourse: Burgess’s A Clockwork Orange, Kubrick’s A Clockwork Orange, and Krege’s translation, Clockwork Orange. These instances are varied over time of publication (1962, 1971, 1997), language (English, German), medium (novel, film), and culture (British, American, German), allowing enough variance to examine how the discourse changes to meet the needs of its participants.
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Injoque, Gonzales Daniela Patricia. "Análisis conceptual de las películas 2001: Odisea del Espacio y La Naranja Mecánica del director Stanley Kubrick, desde el trabajo de Dirección Fotográfica y su impacto en la sociedad estadounidense de la década del setenta." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653071.
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En el presente trabajo de investigación se analizará las películas 2001: Odisea del Espacio y La Naranja Mecánica del director Stanley Kubrick desde la perspectiva visual de la dirección fotográfica, y su impacto en la sociedad estadounidense de los años 70’s.
El objetivo de este estudio es identificar los mensajes ocultos que busca demostrar Stanley Kubrick por medio del uso de técnicas fotográficas en sus películas 2001: Odisea del espacio y La Naranja Mecánica. Por ello, se realizará un análisis de la composición fotográfica, el manejo del color e iluminación, con la finalidad de interpretar y comprender su simbolismo, así como impacto social en Estados Unidos de la década del setenta.In the present investigation, we will be analyzed from the visual perspective of the images composition of the films 2001: Space Odyssey and The Clockwork Orange by Stanley Kubrick with the purpose of what was their impact on American society in the decade of 1970. The objective of this study is to identify the hidden messages that Stanley Kubrick seeks to demonstrate through symbolism in his films, 2001: Space Odyssey and The Clockwork Orange. Therefore, an analysis can be made in the photographic composition of elements, the most explicit scenes of this work, in order to interpret them and understand their impact on American society in the seventies.
Trabajo de investigación
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Pezzotta, Elisa. "Adaptations : Stanley Kubrick's challenges." Thesis, University of Roehampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515227.
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Gay, Christian. "Queer Threats and Abject Desires in Four Films from New American Cinema." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/290.
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This dissertation is an in-depth critical analysis of four American films made during the 1970s, with emphasis placed on the films' construction of gender and sexuality. This dissertation draws from the tradition of queer film criticism presented in the writings of such theorists as Barbara Creed, Alexander Doty, Richard Dyer, Vito Russo, and Eve Kosofsky Sedgwick. Taking a queer perspective, these film readings explore how particular works implement queer codes and foster a sexually ambiguous world on film. While not typically included in discussions of Queer Cinema or New American Cinema, these four films, Martin Scorsese's Mean Streets (1973), Francis Ford Coppola's The Conversation (1974), Steven Spielberg's Jaws (1975), and Stanley Kubrick's The Shining (1980), exhibit a family resemblance and as a cycle are products of a particular period in American cinematic experimentation. A detailed scene-by-scene analysis is enacted in order to bring to light queer moments in the films and queer concerns of the films' makers. Raising questions about how the camera constructs character identities in these films, this study is reflective of the ways queer perspectives inflect filmmaking from this era.
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Santos, Aline Peterson dos. "O protagonista nas laranjas mecânicas : um tchelovek bratchni ou um maltchik bizumni?" reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149527.
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Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável.This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.
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Tsampa, Anatoli. "Wort Ton Bild Welt." Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18053.
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Die Dissertation untersucht die Entwicklung des Gesamtkunstwerk-Konzeptes und seine Aktualität, Möglichkeit und Notwendigkeit in Bezug auf ein modernes filmisches Gesamtkunstwerk. Ausgegangen wird von der ästhetischen Theorie und Praxis der deutschen Frühromantik, in der das Konzept wurzelt. In einer umfassenden Betrachtung und Analyse der ästhetischen und gesellschaftspolitischen Dimension des Konzeptes in den Schriften und dem Werk Richard Wagners sollen wesentliche Strukturmerkmale erkundet und soll ein Maßstab für ein ‚positives‘ zeit-genössisches Gesamtkunstwerk gebildet werden, das sich von seinem ideologischen Missbrauch befreit. Erforscht wird, inwiefern der Farb- und Tonspielfilm ein geeignetes Kunstmedium für die Anwendung des Konzeptes darstellt und wie sich die Frage seiner gesellschaftspolitischen Dimension in der globalen Epoche übersetzen lässt.The dissertation explores the evolution of the concept of the Total Work of Art (ʹGesamtkunstwerkʹ) as well as its actuality, feasibility and necessity in the form of a modern cinematic Gesamtkunstwerk. Starting point is the aesthetic theory and praxis of the Early German Romanticism, in which the concept is rooted. An extensive consideration and analysis of the concept in both its aesthetic and socio-political dimension as developed in the writings and works of Richard Wagner aims to define its essential structural features and to set the standard for a ʹpositiveʹ contemporary Gesamtkunstwerk beyond its ideological abuse. Key is the examination of how and to what extend the sound and colour feature film constitutes a legit artistic medium for the application of the concept as well as how its sociopolitical facet translates within the global era.
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Felcman, Jakub. "Imaginární kino." Doctoral thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-373531.
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Wenk, Christian. "Abjection, madness and xenophobia in gothic fiction." Berlin : wvb, Wiss. Verl, 2008. http://d-nb.info/989569101/04.
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Mata, Ariadne Costa da. "Blissful violence ambiguity in Stanley Kubrick's a clockwork orange." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83942.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Gradução em Letras/Ingrês e Literatura Correspondente.Made available in DSpace on 2012-10-20T04:50:21Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T00:48:58Z : No. of bitstreams: 1 185025.pdf: 2558408 bytes, checksum: 17eaae87814e655bbd925ed19326258c (MD5)
Analise da construção da ambigüidade na narrativa do filme Laranja Mecânica, de Stanley Kubrick (1971). Investiga a relação identificação-afastamento que o filme promove entre o protagonista e o espectador, assim como o modo peculiar como o filme trata a violência. Observa um movimento em direção à ambigüidade que se desenvolve ao longo da obra do diretor, iniciando com estruturas e personagens mais tradicionais, abandonando gradualmente as posições morais seguras. Três filmes são também discutidos como uma amostra da obra do diretor, de modo a traçar a evolução de seu estilo e sua visão de mundo: Dr. Fantástico ou Como Aprendi a Parar de me Preocupar e Amar a Bomba (1963), 2001- Uma Odisséia no Espaço (1968) e De Olhos Bem Fechados (1999).
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Ruschel, Christian. "Vom Innen und Aussen der Blicke aus Arthur Schnitzlers Traumnovelle wird Stanley Kubricks Eyes wide shut /." [S.l.] : [s.n.], 2002. http://ArchiMeD.uni-mainz.de/pub/2002/0173/diss.pdf.
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Lowery, J. Vincent. "A reel nightmare exposed : a study of the cultural significance of Stanley Kubrick's Dr. Strangelove (1964) /." Electronic version (PDF), 2003. http://dl.uncw.edu/etd/2003/loweryj/jvincentlowery.html.
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Park, Unyoung [Verfasser], Vinzenz [Akademischer Betreuer] Hediger, and Rembert [Akademischer Betreuer] Hüser. "Sehen und Sprechen: Männlichkeit und Weiblichkeit in Stanley Kubricks "Eyes wide shut" / Unyoung Park. Betreuer: Vinzenz Hediger. Gutachter: Vinzenz Hediger ; Rembert Hüser." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2016. http://d-nb.info/1091049114/34.
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Cavedo, Keith. "Alien Encounters and the Alien/Human Dichotomy in Stanley Kubrick‘s 2001: A Space Odyssey and Andrei Tarkovsky‘s Solaris." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1593.
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The alien encounter has long been a defining and popular subject of science fiction cinema. However, Stanley Kubrick's 2001: A Space Odyssey (1968) and Andrei Tarkovsky's Solaris (1972) are interrogative, complex, and distinct artistic accomplishments that stand apart from and above the conventional science fiction film. 2001 and Solaris not only represent but complicate the alien/human dichotomy; in the end, they destabilize the dichotomy and even suggest a radical synthesis of the dichotomous elements. 2001 and Solaris further emphasize epistemological and specifically anthropocentric limitations when it comes to understanding the alien or attempting to make sense of the alien encounter.
Chapter 1 introduces the alien/human dichotomy in two representative science fiction films of the period, This Island Earth (1955) and Planet of Storms (1962). Chapter 1 provides some contextual and contrapuntal basis for the originality of 2001 and Solaris. Chapter 2 reviews critical literature directly and indirectly addressing alien and human identity, interpretations of symbolic forms such as the monolith in 2001 and "guests" in Solaris, and both films' ambiguous, multivalent endings. Chapter 3 (on 2001) and Chapter 4 (on Solaris) examine the alien/human dichotomy in specific scenes where an alien, non-human presence appears to be present or where an alien encounter significantly occurs. The two chapters analyze techniques such as the significance of the establishing shot and other shots or cinematographic effects, settings, point of view, and non-diegetic music. By way of conclusion, Chapter 5 compares 2001 and Solaris and makes the argument for the differences between-and departures from-the two film masterpieces and conventional science fiction films. Chapter 5 ends with further considerations of the argument and a broadening of the context.
This dissertation should be of interest not only to science fiction scholarship in general but to film studies in particular. It aims to provide a sophisticated reading of 2001: A Space Odyssey and Solaris supported by recent criticism in an effort to join in the ongoing scholarly discussion and critical legitimatization of science fiction cinema.
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstrationBased on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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Hebestreit, Melanie Klimsa Paul. "Paradigmatische Filmstrukturen : eine Strukturanalyse des Werkes "Eyes Wide Shut" von Stanley Kubrick /." 2006. http://www.gbv.de/dms/ilmenau/abs/521131189hebes.txt.
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Gonçalves, Ana Patrícia da Silva. "A música na construção da narrativa cinematográfica : (Alfred Hitchcock & Stanley Kubrick)." Master's thesis, 2014. http://hdl.handle.net/1822/33099.
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Dissertação de mestrado em Mediação Cultural e LiteráriaO tema proposto prende-se com a inegável ligação existente entre música e outros elementos como som e imagem na construção da narrativa cinematográfica. Ou seja, é nosso intuito prestar atenção à forma como se encadeiam e entrecruzam estes códigos do ponto de vista estético-expressivo e tecno-narrativo. Por outras palavras, o principal objetivo desta dissertação passa por tentar compreender em que medida a música se interpenetra com som e imagem, que é como quem afirma: estudar os alinhamentos homogéneos e as dissidências heterogéneas destes códigos entre si, tendo sempre presente os efeitos que tais montagens suscitam. Como objectos de estudo, optamos por analisar várias obras do realizador Alfred Hitchcok e também o filme 2001: Odisseia no Espaço de Stanley Kubrick.
The proposed theme relates directly to the undeniable link between music and others elements, such as sound and picture, in constructing the cinematic narrative. It is our purpose to assert the way these cinematic codes intertwine and connect from an expressive-aesthetic and narrative points of view. In other words, the main goal of this dissertation is to try to comprehend in which way music interpenetrates sound and image or, in other words, the homogeneous alignments and heterogenous dissidences of these codes, having always present the effects of their relationship in the film. We chose to analize the works of Alfred Hitchcock and, as well, the film 2001: Space Odissey from Stanley Kubrick.
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VYHLIDALOVÁ, Nikola. "A CLOCKWORK ORANGE: THE SIGNIFICANCE AND IMPLICATIONS OF MUSIC IN BURGESS'S NOVEL AND ITS PRESENTATION IN KUBRICK'S FILM ADAPTATION." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-395034.
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This diploma thesis seeks to provide a thorough analysis of the significance and implications of music in the novel A Clockwork Orange and compare it to the role of music in the film adaptation based on this novel. Anthony Burgess, the author of the novel was an English writer and composer, whose work inspired an American film director Stanley Kubrick to make a film adaptation of the novel. The first part of this thesis deals with the life of the author of the novel, focusing mainly on the influence of music on his life. The thesis further explores the relation between music and man, music and literature, and examines the concept of music in general. The crucial part of the thesis analyses the use and function of music in the novel, provides the interpretation of the novel in terms of music and lastly, it compares the concept of music in the novel with the film adaptation.
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Porto, João Pedro Leite. "O berço de Newton." Master's thesis, 2008. http://hdl.handle.net/10400.12/4313.
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Dissertação de Mestrado apresentada ao ISPA - Instituto UniversitárioA presente dissertação apresenta-se como um exercício motivado, não apenas por uma necessidade de homenagem ao que pode ser considerado como o realizador que definiu o cinema no século passado e que pensou o século presente antes de poder conhecê-lo; mas também como um movimento na melhor compreensão do fenómeno da psicopatia através da sua ilustração no que é o veículo artístico mais completo gerado pelo Homem. Numa análise livre da obra de Stanley Kubrick, procurámos a representação mais amplificada da violência humana na sua forma livre de culpa e de remorso, na psicopatia
ABSTRACT: This work presents itself as an aproach to psychopathy as an absolute form of violence and power driven upon others by an individual. As in Stanley Kubrick´s body of work, psychopathy takes the form of the absolute veicule of violence. Kubrick presented us with the absolute form of everything, whether it would be the absolute form of reality as an hyper - reality, or of violence as an ultra - violence. So it seemed to us appropriate to, in somewhat of a movement of analysis, to point out the meaning and expression of the psychopathy, the power and the violence throughout the seminal cinematography of one of the most acomplished directors ever. In a world of magic, ilusion and hyper realism, Stanley Kubrick was the father of an entire generation of ilusionists that brought us visions of the humanity within us. So it is as an homage that this work presents itself.
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Lacombe, Éric. "La représentation historique au cinéma à travers Barry Lyndon et l'Anglaise et le Duc." Mémoire, 2007. http://www.archipel.uqam.ca/3125/1/M9696.pdf.
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Dans ce mémoire, nous proposons de discuter le rapport entre le cinéma et l'histoire. Plus précisément, nous tenterons de tisser des liens entre deux films historiques peu orthodoxes, soit Barry Lyndon de Stanley Kubrick et L'Anglaise et le duc de Éric Rohmer et l'écriture de l'histoire. En fait, c'est la représentation historique dans ces films situés au XVIIIe siècle qui servira de point de départ à la recherche. De plus, nous allons aussi traiter de la connaissance du langage cinématographique comme prérequis à toute tentative de compréhension de la représentation de l'histoire au cinéma. Notre travail va se diviser en trois chapitres agrémentés d'un prologue et d'un épilogue. Le prologue servira de mise en place des sources, soit les films comme tels. Nous allons les décrire et surtout décrire la réception de ces films à leur sortie en salles. Le premier chapitre traitera spécifiquement de l'écriture de l'histoire et du travail de l'historien. Lors du second chapitre, nous allons faire entrer les deux cinéastes étudiés et tenter de démontrer comment, le temps de ces films, ils ont pu traiter de l'histoire au cinéma d'une manière semblable à celle des historiens de l'écrit. Le troisième chapitre discutera du langage cinématographique (mis en parallèle avec le linguistic turn dont nous parlerons au premier chapitre) et de son importance pour saisir la représentation historique des films. Ce chapitre se placera aussi du côté de la réception du spectateur. Enfin, l'épilogue proposera une analyse métahistorique du film historique en général et des deux films étudiés en particulier. En débutant ce mémoire, nous poserons deux hypothèses. La première visera à démontrer si et comment les deux cinéastes en cause (Stanley Kubrick et Éric Rohmer) peuvent être considérés, à la lumière de leur utilisation des sources, comme des historiens dans leur travail cinématographique. La seconde hypothèse visera à montrer si et comment la connaissance préalable du langage cinématographique est une condition sine qua non de la compréhension de la représentation historique dans le cas de ces deux films en particulier. À la suite de cette recherche, nous pouvons dire que ces deux cinéastes ont proposé une approche certes différente mais tout à fait valide de la représentation historique par leur utilisation des sources qui privilégie un retour au passé sans médiation vers notre époque contemporaine. Les films présentent et
« représentent » le passé comme si le cinéma avait existé au XVIIIe siècle. De plus, la maîtrise du langage cinématographique de ces réalisateurs fait que la connaissance de ce langage est nécessaire au spectateur qui veut comprendre leur représentation du passé. Contrairement aux films qui ont utilisé l'aide d'historiens, ces films présentent l'histoire sans recours à la « démonstration » historique mais présentent l'histoire de manière brute, à l'aide des sources et des « ressources » cinématographiques. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dix-huitième siècle, Cinéma historique, Rohmer, Kubrick, Tournant linguistique.
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Ruschel, Christian [Verfasser]. "Vom Innen und Außen der Blicke : aus Arthur Schnitzlers Traumnovelle wird Stanley Kubricks Eyes wide shut / von Christian Ruschel." 2002. http://d-nb.info/967093678/34.
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