Masters of Cinematic Technique
In Kubrick’s Paths of Glory and Hitchcock’s Psycho, each director successfully utilizes unique camera movements to communicate important thematic and narrative information to their audiences. In each film, the consciousness of the camera encodes not only the director’s authorial vision, but it also serves as a device for communicating power and suspense. Kubrick begins to display his impressive command of camera movement in the opening minutes of Paths of Glory. An early scene opens up with a medium shot of two generals, Broulard (Adolphe Menjou) and Mireau (George Macready), in an opulent, cavernous ballroom. The two men engage in a friendly, but slightly tense exchange, during which Broulard instructs Mireau, …show more content…
While this course has taught me to appreciate the contributions that both of these filmmakers have made to their craft, I remain a reluctantly over-stimulated millennial, attracted to explosions, sex, fast paced narrative, and anything else that may occupy my laughably short attention span before it drifts elsewhere. Both Rear Window and Full Metal Jacket feature brisk sequencing and relatively few long, ‘contemplative’ takes. While this rapid narrative movement is common in Hitchcock’s thrillers, Kubrick’s films more often have a slower tempo (Eyes Wide Shut, 2001, Barry …show more content…
The scenes at the Island were beautifully and precisely shot, which juxtaposed in a hilarious way with the ridiculous things the recruits were being forced to do—from ‘This is my rifle, this is my gun’ to the scene where Private Pyle eats a donut while the others do push-ups. I also loved the dialogue and the way it depicts masculinity and sex in the military. While I have no idea how accurately this movie represents military culture in the real world, its portrayal of the military definitely made me laugh out loud more than a few
In Kubrick’s Paths of Glory and Hitchcock’s Psycho, each director successfully utilizes unique camera movements to communicate important thematic and narrative information to their audiences. In each film, the consciousness of the camera encodes not only the director’s authorial vision, but it also serves as a device for communicating power and suspense. Kubrick begins to display his impressive command of camera movement in the opening minutes of Paths of Glory. An early scene opens up with a medium shot of two generals, Broulard (Adolphe Menjou) and Mireau (George Macready), in an opulent, cavernous ballroom. The two men engage in a friendly, but slightly tense exchange, during which Broulard instructs Mireau, …show more content…
While this course has taught me to appreciate the contributions that both of these filmmakers have made to their craft, I remain a reluctantly over-stimulated millennial, attracted to explosions, sex, fast paced narrative, and anything else that may occupy my laughably short attention span before it drifts elsewhere. Both Rear Window and Full Metal Jacket feature brisk sequencing and relatively few long, ‘contemplative’ takes. While this rapid narrative movement is common in Hitchcock’s thrillers, Kubrick’s films more often have a slower tempo (Eyes Wide Shut, 2001, Barry …show more content…
The scenes at the Island were beautifully and precisely shot, which juxtaposed in a hilarious way with the ridiculous things the recruits were being forced to do—from ‘This is my rifle, this is my gun’ to the scene where Private Pyle eats a donut while the others do push-ups. I also loved the dialogue and the way it depicts masculinity and sex in the military. While I have no idea how accurately this movie represents military culture in the real world, its portrayal of the military definitely made me laugh out loud more than a few