11. Kagan, Norrnan. A Clockwork Orange, in: Kagan, Norman. The Cinema of Stanley Kubrick. New Expanded Edition. New York: The Continuum Publishing Company, 1989, ( 1972), S.167-187
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Adaptation is an essential part of the motion picture industry, with a majority of films based on literature and other forms of source material coming out of Hollywood every day. One of the most controversial examples of adaptation, at the time, was the great Stanley Kubrick’s 1971 dystopian drama A Clockwork Orange, based on the novel by Anthony Burgess. In a futuristic society ruled by gangs, corruption, and “ultra-violence,” psychotic teen Alex (wonderfully portrayed by Malcolm McDowell) volunteers for a government-regulated experimental treatment to rid himself of his wrongdoings after committing an act of murder. Through the film, we follow this tragic anti-hero’s journey to discover the central theme of fate - whether the government controls human order, or if there is a freedom of choice. Although the film was originally blasted by critics for its excessive use of violence and sexuality, it has since become recognized as one of the most psychologically captivating pieces in cinema, earning its place among AFI’s “100 Years...100 Movies” list. Clockwork Orange’s fascinating mise-en-scène (staging, lighting, costuming), cinematography, music selection, use of voice-over-narration, and narrative structure brilliantly establish the novel’s realistic satire of the dystopian future, making the film one of Kubrick’s most successful adaptations.
The turn of the 19th century brought with itself two world wars various brutalities connected with them.
With the loss of its centralized structure, the film industry produced filmmakers with radical new ideas. The unique nature of these films was a product of the loss of unified identity.
Public transportation can be defined as the transportation of passengers. This inconsequently allows such passengers to not own their own cars or drive them often. Moreover, most public transportation permits the travel of several people at one time. Public transportation has existed in both the United States and in Europe for several decades and is still in wide use today. While these countries do have several similarities as far as public transportation is concerned there is a vast amount of dissimilarities. Transportation in general is a major issue equally in the US and Europe, but the way these countries handle it could not be more different.
We live in an era unlike any other in human history. The relentless cycle of technological advancement has brought unimaginable reach to the masses, and with that reach comes a never before welt power. The governments of every society before the 19th century or so had so little concern with the radical individuals that might “threaten” their state’s sovereignty and safety, as the power of radical minorities was meek and their reach small. Presidents Lincoln and McKinley would experience first hand the result of a technologically empowered minority and the damage it can cause. Assassinations were not uncommon in human history, but they continuously became easier and easier to commit, and on June 28, 1914 Gavrilo Princip would show the world exactly how damaging one assassin’s bullet could be. Never before in history has one man that no one knew or cared about brought about such destruction.
A moral career according to Erving Goffman is where “persons who have a particular stigma tend to have similar learning experiences regarding their plight, and similar changes in conception of self”. An example of this from Stigma, is the blind woman Domenica, who was at the beach and was thought to be asleep at the time, and overheard one of her friends saying that he liked her, however he would never date a blind girl. Before that situation, she wasn’t aware that being blind was such a terrible, inconceivable condition. Her household and family members, most likely protected her from learning that being blind, would prevent her from certain opportunities, and limit her enjoyment and quality of life in that matter.
When we think of the greatest films in history, certain names come to mind: Griffith, Murnau, Kuleshov, Hitchcock, Spielberg, Tarantino, and the list goes on. Good movies allow actors to be praised for years, but great movies make their directors indelible for centuries. The director of a film is equal to a novel writer, which defines the auteur theory (Module 13). The auteur theory(politique des auteurs) gives special attention to film directors over any other role in the filmmaking process, arguing that a film is a reflection of the director’s artistic vision. The man behind the theory just so happened to be one of the most recognized directors of the French New Wave, François Truffaut, who stood at the heart of the movement, starting in
History is constantly repeating itself. Even though things are over and done with once they happen, that doesn’t mean that they don’t have an influence on what happens in the future. Greek myths are a prime example of this. Though they are extremely old, they still share similarities in the ways that we think and have a major influence on modern hero stories. Joseph Campbell, an American mythologist, wrote a theory called the “monomyth,” which shows that all ancient hero myths follow the same basic pattern. Many classic myths can be easily comparable to a modern hero story, such as The Dark Knight. Based on Campbell’s analysis of the monomyth, you can see that both The Dark Knight and the myth stories have an uncomfortable home situation. They have a call to adventure, and go through a phrase of denial and refusal. They learn truths about their pasts, receive special items, and cross the threshold. Both will be able to test allies and enemies, meet a girl, and approach and prepare for the journey they’re about to do. Then finally, they go through the ordeal expedition, and receive a reward at the end.
Bordwell and Thompson define the art film as "a film which, while made under commercial circumstances take an approach to form and style influenced by "high art" which offers an alternative to mainstream entertainment" (1). Like avant-garde film making, this style offer the audience with a movie that takes glory in cinemas stance as a modern art form, for art house films are not just intended to be entertaining, they are designed to be imaginative.
Though the short 17 years of existence on this planet, I have come to realize that like the