Film Studies 120

STANLEY KUBRICK Kubrick’s Style of Filmmaking Kubrick’s Style of Filmmaking

STANLEY KUBRICK  Day of the Fight (1951) – short documentary  Flying Padre (1951) – short documentary  The Seafarers (1952) – short documentary  Fear and Desire (1953)  Killer’s Kiss (1955)  The Killing (1956)  Paths of Glory (1957)  Spartacus (1960)  Lolita (1962)  Dr. Strangelove (1964)  2001: A Space Odyssey (1968)  A Clockwork Orange (1971)  Barry Lyndon (1975)  The Shining (1980)  Full Metal Jacket (1987)  Eyes Wide Shut (1999)  Day of the Fight (1951) – short documentary  Flying Padre (1951) – short documentary  The Seafarers (1952) – short documentary  Fear and Desire (1953)  Killer’s Kiss (1955)  The Killing (1956)  Paths of Glory (1957)  Spartacus (1960)  Lolita (1962)  Dr. Strangelove (1964)  2001: A Space Odyssey (1968)  A Clockwork Orange (1971)  Barry Lyndon (1975)  The Shining (1980)  Full Metal Jacket (1987)  Eyes Wide Shut (1999) Kubrick’ s Films Kubrick’ s Films

STANLEY KUBRICK  Dr. Strangelove (1964) is producer/director Stanley Kubrick's satirical, provocative black comedy/fantasy regarding Cold War politics that features an accidental, pre-emptive nuclear attack.  The first commercially-successful political satire about nuclear war, Dr. Strangelove is a cynically objective, humorous response to the apocalyptic fears of the 1950s.  Dr. Strangelove (1964) is producer/director Stanley Kubrick's satirical, provocative black comedy/fantasy regarding Cold War politics that features an accidental, pre-emptive nuclear attack.  The first commercially-successful political satire about nuclear war, Dr. Strangelove is a cynically objective, humorous response to the apocalyptic fears of the 1950s. Dr. Strangelove (1964) Dr. Strangelove (1964)

STANLEY KUBRICK  The screenplay, co-authored by the director (with Terry Southern), was based on Peter George's novel Red Alert.  The film's apocalyptic theme was about how technology had gone haywire and had dominated humanity.  The film's anti-war fears actually became a plausible scenario, with the heated-up intensification of the Cold War and nuclear arms race.  The screenplay, co-authored by the director (with Terry Southern), was based on Peter George's novel Red Alert.  The film's apocalyptic theme was about how technology had gone haywire and had dominated humanity.  The film's anti-war fears actually became a plausible scenario, with the heated-up intensification of the Cold War and nuclear arms race. Dr. Strangelove (1964) Dr. Strangelove (1964)

STANLEY KUBRICK  There were a total of four Academy Award nominations (with no wins) for the film: Best Picture, Best Actor (Peter Sellers), Best Director, and Best Adapted Screenplay:  It lost the first three Oscars to the popular My Fair Lady (1964), and the Screenplay award to Becket (1964).  There were a total of four Academy Award nominations (with no wins) for the film: Best Picture, Best Actor (Peter Sellers), Best Director, and Best Adapted Screenplay:  It lost the first three Oscars to the popular My Fair Lady (1964), and the Screenplay award to Becket (1964). Dr. Strangelove (1964) Dr. Strangelove (1964)

STANLEY KUBRICK  Dr. Strangelove is most memorable for Peter Sellers' Oscar-nominated, masterful performances in three distinct roles in two of the three set locales:  Dr. Strangelove: an eccentric, wheel-chair bound German scientist, a Presidential advisor, who has an uncontrollable mechanical hand that involuntarily makes Nazi salutes.  Mr. Merkin Muffley: an egg-headed President of the US with a bland American accent.  Group Captain Lionel Mandrake:a stuffy British Exchange Programme liaison officer with a crisp English accent.  Dr. Strangelove is most memorable for Peter Sellers' Oscar-nominated, masterful performances in three distinct roles in two of the three set locales:  Dr. Strangelove: an eccentric, wheel-chair bound German scientist, a Presidential advisor, who has an uncontrollable mechanical hand that involuntarily makes Nazi salutes.  Mr. Merkin Muffley: an egg-headed President of the US with a bland American accent.  Group Captain Lionel Mandrake:a stuffy British Exchange Programme liaison officer with a crisp English accent. Dr. Strangelove (1964) Dr. Strangelove (1964)

Dr. Strangelove (1964) Dr. Strangelove (1964)

STANLEY KUBRICK Dr. Strangelove (1964) Dr. Strangelove (1964)

STANLEY KUBRICK Dr. Strangelove (1964) Dr. Strangelove (1964)

STANLEY KUBRICK CLIP: Dr. Strangelove (1964)  Chapters CLIP: Dr. Strangelove (1964)  Chapters Kubrick’s Style of Filmmaking Kubrick’s Style of Filmmaking

STANLEY KUBRICK  A Clockwork Orange (1971) is a dark, satirical science fiction film adaptation of Anthony Burgess's 1962 novel of the same name.  The film’s protagonist is Alex De Large (played by Malcolm McDowell), a charismatic, psychopathic delinquent whose pleasures are Beethoven, rape, and ultra-violence.  A Clockwork Orange (1971) is a dark, satirical science fiction film adaptation of Anthony Burgess's 1962 novel of the same name.  The film’s protagonist is Alex De Large (played by Malcolm McDowell), a charismatic, psychopathic delinquent whose pleasures are Beethoven, rape, and ultra-violence. A Clockwork Orange (1971)

STANLEY KUBRICK  Alex leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his droogs (from the Russian друг, “friend”, “buddy”).  The film tells the horrific crime spree of his gang, his capture, and attempted rehabilitation via a controversial psychological conditioning technique.  Alex leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his droogs (from the Russian друг, “friend”, “buddy”).  The film tells the horrific crime spree of his gang, his capture, and attempted rehabilitation via a controversial psychological conditioning technique. A Clockwork Orange (1971)

STANLEY KUBRICK  Alex narrates most of the film in “Nadsat”, a secret language comprising Slavic (especially Russian), English, and Cockney rhyming slang.  The film features disturbing, violent images, to comment about contemporary social, political, and economic subjects in a dystopian, future Britain.  Alex narrates most of the film in “Nadsat”, a secret language comprising Slavic (especially Russian), English, and Cockney rhyming slang.  The film features disturbing, violent images, to comment about contemporary social, political, and economic subjects in a dystopian, future Britain. A Clockwork Orange (1971)

STANLEY KUBRICK  The film’s central moral question is the definition of “Goodness.”  Kubrick: the film is a social satire dealing with the question of whether behavioral psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots.  The film’s central moral question is the definition of “Goodness.”  Kubrick: the film is a social satire dealing with the question of whether behavioral psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots. A Clockwork Orange (1971)

STANLEY KUBRICK  Academy Awards  nominated Best Director - Stanley Kubrick  nominated Best Film Editing - Bill Butler  nominated Best Picture  nominated Best Adapted Screenplay - Stanley Kubrick  Academy Awards  nominated Best Director - Stanley Kubrick  nominated Best Film Editing - Bill Butler  nominated Best Picture  nominated Best Adapted Screenplay - Stanley Kubrick A Clockwork Orange (1971)

STANLEY KUBRICK A Clockwork Orange (1971)

STANLEY KUBRICK CLIP: A Clockwork Orange (1971)  Chapters CLIP: A Clockwork Orange (1971)  Chapters Kubrick’s Style of Filmmaking Kubrick’s Style of Filmmaking

STANLEY KUBRICK  Eyes Wide Shut is a neo-noir psychological thriller film based on the 1926 novel Traumnovelle (Dream Story) by Arthur Schnitzler. The novel is set during the carnival season (during which it is common for people to wear masks to parties). The film, however, is set during the Christmas season.  It was Kubrick's last film before his death.  Eyes Wide Shut is a neo-noir psychological thriller film based on the 1926 novel Traumnovelle (Dream Story) by Arthur Schnitzler. The novel is set during the carnival season (during which it is common for people to wear masks to parties). The film, however, is set during the Christmas season.  It was Kubrick's last film before his death. Eyes Wide Shut (1999) Eyes Wide Shut (1999)

STANLEY KUBRICK  Set in New York City, the story follows the surreal adventures of Dr. Bill Harford, who is shocked by his wife revelation that she had contemplated an affair a year earlier.  He embarks on a night-long, eventful sexual adventure, during which he infiltrates a massive masked orgy of an underground cult.  Set in New York City, the story follows the surreal adventures of Dr. Bill Harford, who is shocked by his wife revelation that she had contemplated an affair a year earlier.  He embarks on a night-long, eventful sexual adventure, during which he infiltrates a massive masked orgy of an underground cult. Eyes Wide Shut (1999) Eyes Wide Shut (1999)

STANLEY KUBRICK  Kidman on Kubrick  Cruise on Kubrick  Kidman on Kubrick  Cruise on Kubrick Eyes Wide Shut (1999) Eyes Wide Shut (1999)

STANLEY KUBRICK  Spielberg on Kubrick  Spielberg on Kubrick Kubrick’s Style of Filmmaking Kubrick’s Style of Filmmaking