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Powell, Jeremy Cante Richard C. "Bersani avec Kubrick." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1066.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Communication Studies." Discipline: Communication Studies; Department/School: Communication Studies.
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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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Vacirca, Silvia <1981>. "Stanley Kubrick: architetture dello spazio." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3058/1/vacirca_silvia_tesi.pdf.
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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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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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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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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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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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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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Malfitano, Grant Domonic. "The Duality of Man: Stanley Kubrick as Auteur and Adapter." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21857.
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In this thesis I examine the scholarship of Adaptation Theory, commencing with the seminal work of George Bluestone in 1957, up to and including the more recent approaches of Kyle Meikle (2013), Thomas Leitch (2007), Linda Hutcheon (2006) and both Brian McFarlane (1996) and Karen Kline (1996). Each of these theorists has grappled with the overarching concept of fidelity, the status of film as autonomous art, the status of film authorship, and textual primacy. Secondly, I apply the current scholarship on Adaptation Theory to the work of film auteur, Stanley Kubrick. Kubrick’s films bear the indelible hallmarks of a director auteur, instantly recognisable in their stylisation and filmmaking technique. Kubrick's reputation as an obsessive and controlling director is (for the most part) unchallenged, despite the fact that he did not write original screenplays, with every film from 1956’s The Killing onwards being adapted from a primary source novel/novella. It is Kubrick’s instincts, decision making and overall approach to the source text in each film that forms the focus of this research thesis. Analysis will focus specifically on Kubrick’s final four films: Barry Lyndon (1975), adapting William Makepeace Thackeray's Luck of Barry Lyndon; The Shining (1980), adapting Stephen King's novel of the same name; Full Metal Jacket (1987), adapting Gustav Hasford's The Short Timers; and Eyes Wide Shut (1999) adapting Arthur Schnitzler's novella Dream Story. The reason for this is twofold; firstly, as a means of narrowing the scope of analysis for Kubrick's four-decade career. Secondly, I am of the view that Kubrick was at the peak of his directorial powers across these final four films, and that they represent a broad summation of the artist in terms of his technical, theoretical and philosophical approach to filmmaking. Further, I make an original contribution to the scholarship on Kubrick by suggesting that Kubrick's films can be analysed with respect to four central tenets: narrative structure, visual technique, performance, and music/sound design. These are summarised as "Kubrickian Tenets of Adaptation" or KTAs. I seek to apply those KTAs to the scholarship on Adaptation Theory through a number of theorists, but predominantly within the four paradigms of adaptation as described in Karen Kline's 1996 scholarship being Translation, Pluralist, Transformation, and Materialist. Ultimately, I determine whether Kubrick’s omnipresent approach to filmmaking fits within a particular area of Adaptation Theory, and further, whether analysis of Kubrick’s work can provide a meaningful contribution to the ongoing development of modern Adaptation Theory.
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Michaelis, Olaf. "Kubricks „2001: Odyssee im Weltraum“ und Nietzsche : eine Annäherung." Master's thesis, Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2014/6966/.
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Die Arbeit unternimmt den Versuch, Kubricks „2001: Odyssee im Weltraum“ als Metapher für das Ringen mit den Fragen des Lebens unter wesentlicher Betonung der Eigenverantwortung zu lesen. In dieser Hinsicht bestehen erstaunliche Parallelen zum Werk Friedrich Nietzsches. Der Film greift wesentliche Gedanken des deutschen Philosophen auf, indem er seine Kritik zunächst gegen die abendländisch christliche Religion richtet, um sie anschließend konsequent auf die Überhöhung der Wissenschaft, der Vernunft, des Logos auszudehnen. Letztere äußert Kubrick nicht zuletzt durch die Darstellung des scheinbar omnipräsenten und omnipotenten Bordcomputers und die blinde Technologiegläubigkeit, die ihm entgegen gebracht wird. Nachdem die Maschine überwunden ist, tritt der Kern der zunächst vordergründig kulturell-zivilisatorisch wirkenden Entwicklungsgeschichte zu Tage: das Individuum. Der Mensch durchläuft Nietzsches Verwandlungen in Kamel, Löwe und Kind, wodurch er letztlich zu sich selbst findet. Kubricks berühmter Monolith, der gemeinhin als größtes Rätsel des Films gilt, reiht sich dabei ebenso nahtlos in das Gesamtbild ein, wie die nicht weniger Fragen aufwerfende Reise des Protagonisten durch den Lichttunnel oder das schwer verständliche Ende, bei dem sich Bowman mitsamt der Raumkapsel an einem unwirklichen Ort wiederfindet. Nietzsche und Kubrick sind sich in ihrer offenen Vielschichtigkeit so ähnlich, dass die Arbeit weder für den Einen noch für den Anderen in Anspruch nimmt, eine abschließende Deutung vorzulegen. Die Betrachtung versteht sich daher lediglich als Angebot einer kohärenten Lesart des Science-Fiction-Klassikers, deren Gedankengang auch über den für Nietzsche äußerst bedeutsamen Schopenhauer schließlich zu dem deutschen Philosophen führt, der die Schlagworte vom „Übermenschen“ und dem „Willen zur Macht“ prägte.
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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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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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Extence, Gavin. "Cinematic thought : the representation of subjective processes in the films of Bergman, Resnais and Kubrick." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10330/.
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Drawing on a wide range of critical and theoretical material, this thesis explores the representation of subjective phenomena, such as dream, memory and fantasy, in the films of Ingmar Bergman, Alain Resnais and Stanley Kubrick. My introduction outlines my argument concerning how film represents or communicates non-verbal thought processes, before examining theories and depictions of cinematic thought in the silent era. Subsequently, the thesis is divided into three sections, each consisting of two chapters and focussing on the work of a single director. In the first section, I explore Bergman's representation of SUbjective processes. Chapter 2 offers a Close formal analysis of the dream sequences in Wild Strawberries, while chapter 3 examines the stylistic properties and thematic concerns of Bergman's later, experimental work of the 1960s and '70s. In chapter 4 I analyze Resnais' work, emphasizing in particular his early innovations in representing imagination, memory and streams of consciousness. Chapter 5 extends this analysis by examining the concept of collective memory (or imagination) in relation to Resnais' interrogation of France's recent history (the Occupation and the Algerian War). In the final section, I focus on Kubrick's work. Chapter 6 explores Kubrick's 1962 adaptation of Lolita and the notion of 'first-person' cinematic narration. My formal analysis of the film is contextualized through a .discussion of its production history, and examines the relationship between cinematic thought, censorship and the values and norms of Hollywood. Chapter 7 builds upon this analysis, exploring different forms of SUbjective narration and 'uncanny' thought in Kubrick's later work. In conclusion, I summarize the key ideas developed in my thesis in orderú to support my central' argument that cinema has a unique capacity for representing specific aspects of nonverbal thought.
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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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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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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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Marin, Martina <1985>. "Gli oggetti e la loro simbologia in Arancia Meccanica e Shining di Stanley Kubrick, tra individuo e l'universo del cinema." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1652.
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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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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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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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Balstrup, Sarah Katherine. "Spiritual Sensations: A Study of Cinematic Religious Experience and Evolving Conceptions of the Sacred." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18786.
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The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. This thesis examines three films, Stanley Kubrick’s 2001:A Space Odyssey (1968), Gaspar Noé’s Enter the Void (2009) and Lars von Trier’s Melancholia (2011) arguing that these directors harness the affective properties of film just as religious practice adopts particular techniques in order to generate altered states of perception. Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere. Investigating the relationship between cinematic technique and religious experience, this thesis offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. This study makes a further contribution to the field by analysing films contextually, considering viewers’ subjective responses in light of religious and cultural change.
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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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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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Fawver, Kurt. "The Terror of Possibility: A Re-evaluation and Reconception of the Sublime Aesthetic." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4482.
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While the sublime aesthetic has a long and complex critical history, it is nonetheless a schizophrenic concept. Indeed, in the over two thousand years since the sublime became a subject of learned inquiry, it has not been resolved into any one concrete idea, but has become, rather, an expansive tapestry of disparate if interconnected theoretical threads from which aestheticians may pick and choose to define what they mean by the term "sublime." Kant postulates one sort of sublime, Burke another, and Lyotard, Zizek, and the Romantics still others. In this way, the contemporary sublime aesthetic is, in essence, an ever-extending discourse of recombinatory effort. The goal of this dissertation is to stitch together the competing conceptual threads that constitute the contemporary definition of the sublime aesthetic and to uncover the foundational core from which all those ideas spring.
Through analysis and deconstruction of several major theories on the sublime as well as through critical evaluation of a host of literary and cinematic texts (for example Kubrick's 2001: A Space Odyssey and Don Delillo's White Noise), this dissertation contends that the deepest substratum of the sublime aesthetic lies in dynamism and possibility. Indeed, both art objects and philosophical rationale show that the sublime aesthetic is, at base, the recognition of the entire sphere of the possible and its necessarily constitutive threatening dynamism in a physically or ideologically destructive object or act of vast size, power, or mystery.
This dissertation argues that a theory of the sublime as possibility that entails uncontrollable dynamism helps to further clarify - if not fully explicate - the aesthetic and resolves the tension and incompatibility between preexisting ideas on the subject. Therefore, as a new theory of the sublime aesthetic, this dissertation is, at very least, a novel formulation of an ancient and undervalued concept in art and critical theory and, at best, a work that unearths the deepest, heretofore unrecognized, layers of an aesthetic experience central to human perception.
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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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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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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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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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paula_rm_me_sjrp.pdf: 2561833 bytes, checksum: 5e51329f8a6e197890cb17efd957b900 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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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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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Toresson, Fredrik. "En sublim odyssé : En studie av 2001: A Space Odyssey och det sublima." Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1124.
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Studien undersöker det sublima i Stanley Kubricks rymdepos från 1968. Främst behandlas den estetiska dimensionen av begreppet men av stort intresse är också huruvida filmmediet rymmer en mediespecifik sublimitet. Fyra tänkare ligger till grund för förståelsen av begreppet så som det formuleras i den teoretiska inledningen av uppsatsen – Longinos, Edmund Burke, Immanuel Kant samt Jean-François Lyotard och varje tänkare erbjuder en unik förståelse av begreppet. Detta ger ett mångfacetterat begrepp som kommer att prägla det metodologiska förfarandet. De olika teoretiska uppfattningarna av begreppet låter sig delas in i en dikotomi om implicit respektive explicit sublimitet, och denna uppdelning ligger sedermera till grund för uppsatsens disposition: I det första analyskapitlet behandlas filmens övergripande struktur. Utifrån neoformalismens begrepp om fabel och sujett, proairetisk och hermeneutisk linje belyses filmens episodiska uppbyggnad och kausalitetens betydelse för det sublima, hur det sublima kommer till uttryck i relationen mellan händelser och representationen av dessa händelser. I analysens andra del fokuseras den explicita sublimiteten och det sublima som rumslig tilldragelse. I analysens tredje del behandlas det sublima som frambragt genom implicita medel, den utomrumsliga sublimiteten och de temporala implikationer som följer av denna. Ur filmvetenskaplig kanon beaktas i uppsatsen dessutom Gilles Deleuze och Jean Epsteins filmiska filosofier varpå det blir tydligt att dessa rymmer sublima implikationer. Rörelsebilden och tidsbilden borgar för olika slags sublimiteter och nytt ljus faller över fotogeniet då det problematiseras utifrån Kants tankar om smakomdömet.
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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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Carbone, Mariangela. ""Arancia meccanica" dal romanzo al film: analisi dell'adattamento e della sua ricezione." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
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L'elaborato analizza il film "Arancia meccanica" di Stanley Kubrick, ponendolo a confronto con il romanzo di partenza scritto da Anthony Burgess. Vengono analizzati gli aspetti stilistici del romanzo e le scelte compiute da Kubrick, a livello sia linguistico e narrativo che tematico, nel suo adattamento. Viene analizzata la ricezione del film di Kubrick, le vicende produttive e distributive, ma soprattutto il suo impatto sul pubblico internazionale. In conclusione dell'analisi, vi sono alcuni commenti e riflessioni riguardo al tema della violenza nel film e a quelle reazioni estreme della critica che hanno accusato il film di essere pericoloso e violento.
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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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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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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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Pontén, Joon. "The final final final cut : Fan edits och hur de samverkar med filmindustrin." Thesis, Stockholms universitet, Institutionen för mediestudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77200.
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Begreppet ”fan edits” betecknar filmer som klipps om av fans, vilka är missnöjda med hur en adaption för vita duken som gjorts. I min uppsats vill jag påvisa dels hur samspelet mellan fans och filmmakare/filmbolag sett och ser ut, dels försöka klargöra varför copyright/fair use är så knepigt att applicera på området.
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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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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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Wenk, Christian. "Abjection, madness and xenophobia in gothic fiction." Berlin : wvb, Wiss. Verl, 2008. http://d-nb.info/989569101/04.
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O'Brien, Kelley. ""He Didn't Mean It": What Kubrick's." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7204.
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With Second Wave Feminism and the Women’s Rights Movement, 1970’s Americans began to see a shift in gender norms affecting how we relate to one another, particularly within a family structure. Scholars have noted an anxiety permeating the decade over the potential negative ramifications of such a drastic cultural shift. We see these issues of gender politics played out in numerous popular films from the 1970s and into the 1980s. Kubrick’s The Shining, like many horror films of the time, preys upon the societal fear for the family, due to these shifting gender norms, by featuring a crumbling patriarch (Jack), a troubled child (Danny), and mother struggling to hold her family together (Wendy).
Upon closer examination The Shining stands out for its progressive narrative which supports leaving behind outdated ideas of masculinity and femininity, in favor of embracing a more open and ambiguous definition. Kubrick uses his characters as figures, representative of broader social and cultural conflicts. His film operates at two levels, the individual (or micro level of the character’s story) and the systemic (or macro, how their story reflects large social issues). In this way he exposes the toxicity of traditional masculinity and its detrimental effects on a family. By killing Jack and allowing Wendy and Danny to escape, The Shining emphasizes the need to progress and reshape our perceptions of gender identity. In my examination of the film I combine film theory with historicism, leaning on the works of cultural history scholars as well as film scholars. My analysis of The Shining expands both our understanding of the film and of its cultural moment, unearthing issues we continue to grapple with as a society today.