Essay on The Auteur Theory: Stanley Kubrick
1209 WordsJul 28th, 20085 Pages
Auteur Theory is based on three premises, the first being technique, the second being personal style, and the third being interior meaning. Furthermore, there is no specific order in which these three aspects must be presented or weighted with regard to a film. An Auteur must give films a distinctive quality thus exerting a personal creative vision and interjecting it into the his or her films. Kubrick made his first film in 1953 and has continued to make films till his death shortly after the film Eyes Wide Shut in 1999. With a film career spanning over four decades, he crafted consistent themes, and honed a highly personalized style which was woven into the films he made. Stanley Kubrick was a very stylistic film maker and paid…show more content…
Also mirrors are use often to help show these dualities throughout his films. In Lolita, Humbert faces a moral dilemma with his obsession for Lolita. He knows his feelings are wrong, but he cannot help himself and he is too weak to fight it. Humbert then has an opposing force that parallels him, this being the character of Quilty, who haunts him throughout the rest of the movie. Only by killing Quilty can Humbert come to terms with this duality. Also in The Shining there are parallels between Jack and his urges to kill his family and his son Danny who feels much of what his dad feels through the apparent psychic connection. Also a parallel with the former groundskeeper who killed his whole family is present. In 2001 space odyssey, as formentioned, he uses light classical music juxtaposed with the dark mysteries that surround the mission and the spaceship Discovery One. The music provides a sense of serenity as well as discombobulated feel like one might feel in space. As with all of his films there was great attention to detail and it was visually stunning as well as aesthetically pleasing. One specific shot of beauty is in the beginning of the movie titled “dawn of man” after the apes jump around the monolith, the sun is setting behind a flat topped hill and the moon is juxtaposed right above it with golden clouds all around. Also in this movie, the reoccurring theme of an unsavory character that we are manipulated into sympathizing with is HAL during the
There will come a time when being an auteur filmmaker will be the norm, rather than the exception. But let’s pause for a second on that word “auteur.” Have you ever heard that word used and wondered what it meant? Or, more likely, have you ever thought about a director who had carved out his or her own particular style, which you noticed from film to film, and thought there must be a term for directors like that? This roughly-fifteen-minute video essay from Filmmaker IQ gives a resoundingly clear answer to the question “what is an auteur,” which should clear up any confusion on the matter. It also offers up a concise history of the term, which is rooted in French film history. The piece looks at the more conservative films being made in France before World War II, the transformations effected by Francois Truffaut and such critic-director colleagues as Jean-Luc Godard, who embraced and examined director Jean Renoir’s term auteur to support an elevation of the filmmaker-as-artist, and the fierce debate between American critics Andrew Sarris and Pauline Kael over the significance and relevance of the term itself. This piece is a great watch for anyone hoping to bolster their knowledge of film history or, as the case may be, resolve once and for all what the heck an “auteur” is.