Film Contributions of the Sixties Essay - 1651 Words

Film Contributions of the Sixties Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the â€Å"Sixties† era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the â€Å"Sixties† saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick,†¦show more content†¦These sequences are a result of a film, which for most of its run time does not presented the subjective vision of any one character. In stylistic and visual terms, there is a mov ement from the three-dimensional style of the film’s first half to the flatter, more abstract visual style of the Star-Gate sequence. The film’s movement towards abstraction can be understood both in visual and narrative terms (Falsetto, 115). 2001’s presentation of details from the â€Å"Dawn of Man† sequence, to later space travel scenes are shot with complete conviction and impeccable detail. The viewer believes that the world might have actually looked like what Kubrick presented it as, several million years ago, and the depiction of space travel is just as convincing. The use of models, front projection, the slow editing techniques and camera work all help to create a more complete illusion (Falsetto, 141). If 2001 was presented almost completely objectively, than Kubrick’s next film, A Clockwork Orange (1972) was presented almost completely subjectively. This may have been in part due to the constraints of the original novel by William Burgess, but nonetheless the film is told from the point of view of its central character, Alex. When Alex is not speaking on camera, he can often be heard as a voiced overShow MoreRelatedAn Exploration of How the Designer Olivier Kuntzel and Florence Deygas Managed to Incorporate and Interpret the Narrative of ‘Catch Me If You Can’ Into Their Title Sequence1169 Words   |  5 Pagesbecause while it embodied the basic narrative of the film – the ongoing cat and mouse chase between the conman (Frank Abagnale Jr) and the FBI agent (Carl Hanratty) – the titles designers also interpreted different themes and applied them to the titles in a way that isn’t apparent until after the film has finished. 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