Stanley Kubrick Use of Shadows in his films Essay Example For Students

Stanley Kubrick Use of Shadows in his films Essay Strangelove seems like nothing more than a comedy satire, it is a metaphor into the ridiculousness of the Cold War. If the one man who is responsible for the attack on another country goes insane and the attack cannot be stopped, what would you do? This is what is questioned in the film. In A Clockwork Orange, The Shining and Full Metal Jacket, the dark side of human nature is revealed. These films show the insanity of different characters and how their insanity affects those around them. Each film is deeply expressive, as they show, in great depth, themes that are important to humans: Survival. We will write a custom essay on Stanley Kubrick Use of Shadows in his films specifically for you for only $16.38 $13.9/page Order now In the films, the survival of the CULTURAL FRAME: Each film also features science and technology prominently in the plot. In Dr. Strangelove, the story is about the imminent bombing of Russia by a crazy American Army General. In A Clockwork Orange, futuristic cars, fashion and artworks are shown, which gives the setting of a futuristic Britain in a Dystopian setting. In The Shining, the advances of technology are available, such as two-way radios, but it are disconnected by the crazy main character, causing isolation from the setting to the rest of the world. In Full Metal Jacket, all of the available sciences and technology of the Army are shown, including two-way radios and complicated weaponry, and the characters use them prominently. The use of technology and sciences help support the setting of which the movies take place by making the movies seem more realistic, making them more believable for the viewing audience. TITLE: -Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb -A Clockwork Orange -The Shining -Full Metal Jacket DIRECTOR: Stanley Kubrick DATE THE WORK WAS MADE: -Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb 1964. -A Clockwork Orange 1971 -The Shining 1980 -Full Metal Jacket 1987 characters depend on the sanity of the other characters. This theme is expressive as it was not commonly shown on film in the 1960s, 1970s and 1980s, and was considered taboo by not just the audience, but also the ratings systems, which discouraged against seeing the films. The Director, Stanley Kubrick, wants the audience to be the character and feel how the character feels. This is achieved by first-person camera shots, which are camera shots which show the direct point-of-view of the character. This creates an overall effect of how the movies affect the people that watch them by providing them with the question of the sanity of man. POSTMODERN FRAME: In all of Stanley Kubricks movies, inconsistencies are purposely used to distort the train of thought of the viewer. In all of his movies, he constantly changes the aspect-ratio, which is the amount of frame that can be seen in a scene. The varying aspect ratio creates a sense of confusion for the viewer, which is an intentional effect, as it adds to the mystique of his movies and how they test the mentality of the audience watching the movies. Using the information from PART A and B plan a response for the following essay question: You will need to develop an essay plan under the following headings before you begin writing. INTRODUCTION in point form-Introduce the photographer (who are they, what type of practice-time and place) -Stanley Kubrick -Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb 1964 -A Clockwork Orange 1971 -The Shining 1980 -Full Metal Jacket 1987 BODY OF ESSAY in point form -What does your photographer do? How do they do it? Why do they do it? .u6bf6b00139252d2f26efae572de59ac8 , .u6bf6b00139252d2f26efae572de59ac8 .postImageUrl , .u6bf6b00139252d2f26efae572de59ac8 .centered-text-area { min-height: 80px; position: relative; } .u6bf6b00139252d2f26efae572de59ac8 , .u6bf6b00139252d2f26efae572de59ac8:hover , .u6bf6b00139252d2f26efae572de59ac8:visited , .u6bf6b00139252d2f26efae572de59ac8:active { border:0!important; } .u6bf6b00139252d2f26efae572de59ac8 .clearfix:after { content: ""; display: table; clear: both; } .u6bf6b00139252d2f26efae572de59ac8 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u6bf6b00139252d2f26efae572de59ac8:active , .u6bf6b00139252d2f26efae572de59ac8:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u6bf6b00139252d2f26efae572de59ac8 .centered-text-area { width: 100%; position: relative ; } .u6bf6b00139252d2f26efae572de59ac8 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u6bf6b00139252d2f26efae572de59ac8 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u6bf6b00139252d2f26efae572de59ac8 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u6bf6b00139252d2f26efae572de59ac8:hover .ctaButton { background-color: #34495E!important; } .u6bf6b00139252d2f26efae572de59ac8 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u6bf6b00139252d2f26efae572de59ac8 .u6bf6b00139252d2f26efae572de59ac8-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u6bf6b00139252d2f26efae572de59ac8:after { content: ""; display: block; clear: both; } READ: The Truth of the Big Fish EssayUse examples, refer to the frames interpretations (significant events, artworks, statements about the photographer, your ideas about their work, observations of others, statements from the photographer. Then, in point form outline the structure of the body of your essay. -Stanley Kubrick uses shadow in his movies in a variety of ways. -Film-Noir shadows, which consist of light coming through Venetian blinds. -Long shadows achieved through the use of well positioned spotlights. -Central light, which radiates in all directions, which gives of a universal shadow in all directions around the light. CONCLUSION -in point form-: Outline the significant events, issues and observations that sum up the photographers practice. -By using shadows in his movies, Stanley Kubrick creates many different effect, each of them as important as the last. SECTION C: Answer the following question in essay form using your essay plan Give an account of the photographers/filmmakers practice. In particular, how have they used contrasting visual qualities and techniques like dramatic lighting, film noir and shadow in their work? Refer to specific examples of the photographers/filmmakers work in your essay. Stanley Kubrick uses shadow in his movies in a variety of ways. The movies I have used to show the use of shadows for this project are Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb, A Clockwork Orange, The Shining and Full Metal Jacket. In Dr. Strangelove, Stanley Kubrick uses shadows in various ways. In particular, he uses them in a lengthy scene, which totals to around 5 minutes. The scene shows lighting and shadow as they were used primarily in a film-noir scene. This effect is achieved by showing light coming through Venetian blinds, which is used to highlight portions of a character, while creating a shadow against the background/set. the shadows that are created with this effect are not just the shadows of the blinds, but also of the object in the path of the light and the background/set. This is used in particular in Dr. Strangelove as a character, who has clearly most his mind, turns the light off in his office and opens the blinds, exposing outside lights into the room, causing the film-noir shadow effect. This effect can be seen in Attachment 1. In another of Stanley Kubricks movies, A Clockwork Orange, he uses a fixed spotlight, which establishes the light and shadow for following scenes. The light produces a long shadow, which is of a homeless man lying inside a traffic tunnel In Attachment 3, the show directly following Attachment 2, the gang, which are the main characters in the film, are shown approaching the homeless man. The shadow effects which are created show that there is no escape from the gang and the gloomy shadows which approach him. In The Shining, another of Stanley Kubricks movies, light is used to show that the light is a representation of the main character of the film, the insane Jack Torrance. His wife, Wendy, is shown running away from the crazy Jack by running up a flight of steps. The staircase which she runs up is shown as a shadow against the background/set, with the railings being shown much like in a film-noir scene, which is accompanied by the shadow of Wendy. To understand this greater, an example of this is seen in Attachment 4. In Attachment 5, the shot after Attachment 4 is shown. The same film-noir effect is scene in this attachment, with the staircase being shown in a shadow against the background. The light again being radiated by the insane Jack, which shows that the light is not just shining into Wendys direction, but in all directions around him. In the last Stanley Kubrick film that I studied is Full Metal Jacket. In this film, shadows can be seen in many different ways. In one scene, silhouettes, which is a lack of front light and an ample amount of back light which creates a shadow effect which shows only the outlying features of the object, can be seen. This is shown in a scene in which would-be Marines are shown training at an obstacle course at a boot camp. This is shown as it not only shows that the end of the day is a metaphor for the end of the .u1d8a55e9d1cfef34fa143b8d2852d18f , .u1d8a55e9d1cfef34fa143b8d2852d18f .postImageUrl , .u1d8a55e9d1cfef34fa143b8d2852d18f .centered-text-area { min-height: 80px; position: relative; } .u1d8a55e9d1cfef34fa143b8d2852d18f , .u1d8a55e9d1cfef34fa143b8d2852d18f:hover , .u1d8a55e9d1cfef34fa143b8d2852d18f:visited , .u1d8a55e9d1cfef34fa143b8d2852d18f:active { border:0!important; } .u1d8a55e9d1cfef34fa143b8d2852d18f .clearfix:after { content: ""; display: table; clear: both; } .u1d8a55e9d1cfef34fa143b8d2852d18f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1d8a55e9d1cfef34fa143b8d2852d18f:active , .u1d8a55e9d1cfef34fa143b8d2852d18f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1d8a55e9d1cfef34fa143b8d2852d18f .centered-text-area { width: 100%; position: relative ; } .u1d8a55e9d1cfef34fa143b8d2852d18f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1d8a55e9d1cfef34fa143b8d2852d18f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1d8a55e9d1cfef34fa143b8d2852d18f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1d8a55e9d1cfef34fa143b8d2852d18f:hover .ctaButton { background-color: #34495E!important; } .u1d8a55e9d1cfef34fa143b8d2852d18f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1d8a55e9d1cfef34fa143b8d2852d18f .u1d8a55e9d1cfef34fa143b8d2852d18f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1d8a55e9d1cfef34fa143b8d2852d18f:after { content: ""; display: block; clear: both; } READ: Ambiguity in Princess Mononoke Essaytraining camp, but also that the soldiers seem to be all the same and cannot be individually identified, which make the soldiers a uniform group of men, which they are. This can be seen in Attachment 6. Another effect which is shown in the film shows the insane Private Gomer Pyle, Which is shown by shadows on his face, which show the schizophrenic demeanour Which he has, showing the multiple personalities which he has. This can be seen in Attachment 7. By using shadows in his movies, Stanley Kubrick creates many different effect, each of them as important as the last.