Talk:Stanley Kubrick/Filmography

regarding introduction

extra bit of introduction, some of which could be recycled later?

Introduction to Kubrick (b): How might Kubrick stand apart from other film geniuses?

Kubrick’s films, especially from 2001: A Space Odyssey on, exhibit conceptual depth and complexity which distinguish them as exemplary models of narrative art. 2001, for example, is concerned with such philosophical and scientific subjects as cosmic time and human evolution, subjects which films only extremely infrequently attempt to deal with. However, in Kubrick’s intellectual and philosophical depth he is far from alone; other highly acclaimed filmmakers such as Ingmar Bergman and Luis Buñuel had consistently produced major film works of commensurate philosophical complexity. So what, arguably, sets Kubrick apart from the rest of the world’s greatest filmmakers? It is precisely this: Kubrick’s utter command of the technical aspect of the film medium. In every film Kubrick made from 2001 on, he pioneered new technological techniques to realize his vision. In A Clockwork Orange, for example, he pioneered a new use of sound recording; in Barry Lyndon, he pioneered the use of a new type of lens; in Full Metal Jacket, he pioneered the use of a new type of shutter for the camera. It is the fusion of philosophical complexity and technical command (in so many of his films) that, arguably, sets Kubrick apart from all other of the world’s greatest filmmakers. (One can equate this to William Shakespeare’s fusion, in his plays, of his mastery of dramatic structure with his mastery of the linguistic form.) It must be stressed that Kubrick’s technological advances were never merely for the sake of showmanship; Kubrick always employed his technological advances for the sake of the story being told. In The Shining, for example, Kubrick brings the camera into the story, as it were; that is to say, just as one can pause over Shakespeare’s language and hear resonances in the poetry which parallel and enhance the dramatic action which the poetry is bringing into being, so in The Shining the camera not only allows the story to be told but also contributes actively to the complexity of the story (through the viewer’s awareness of the repetition of many of the camera’s movements, for example; the repetition of specific camera moves creates thematic connections between different scenes of the film); while in Barry Lyndon, Kubrick’s clever multifarious employment of the zoom lens adds a surprising number of conceptual resonances to the dramatic action which contribute to the overall meaning production of the story; and in Eyes Wide Shut, Kubrick uses light reflections on the camera lens (such as lens flares) to suggest thematic elements (i.e., so-called “symbolism”) that enhance the story being told through the lens. In short, when the viewer pays attention to the technical aspects of a Kubrick film, the story (of emotional human concerns) is not thereby lost but enhanced. In virtually all films that are made, the film technology that brings these films into being is meant to remain “unnoticed” as it were (as the “tools” that made the product); when viewing Kubrick films, however, the viewer’s awareness of the technology is a part of the overall film experience. A Kubrick film is a dense, cerebral, emotional, multi-layered cinematic phenomenon. There are no other films quite like a Kubrick film.

I am sure..

I just butchered S.S.'s name. --Robert W King 22:52, 14 October 2007 (CDT)