There are certain narrative techniques which are common across both the film noir and neo noir movements and these traits have not changed across history – one of he best examples of these techniques is the use of voice over by the main character , this is a trope within itself and it is similar to the archetypal characters that are used within the genre in the sense that they are expected as part of the genre. Voice overs are often used while the main character is speaking to another character and this gives us a unique insight into what the characters are actually thinking – for example , at the beginning of Blade runner , Bryant recruits Deckard to hunt down the rouge replicants and while Bryant is talking Deckard is holding a neutral expression and his interior monologue tells us that Deckard dislikes Bryant and this is not something that would have been immediately evident by just his facial expression alone.
Voice over is only one technique that is a hallmark of the style of film noir and it helps to create a casual tone and it makes the audience think that they personally know the protagonist. Additionally , the intimacy that is created between the main character and the audience serves to raise the stakes of the action due to the fact that a personal dialogue has been created between the main character and the audience , who come to like the main character because they are afforded a unique insight into the minds of the characters and their thoughts and feelings.
Sunset Boulevard (1950 , directed by Billy Wilder) is an example of film noir where voice over is used by the main character in order to give the audience context as to what is going on in the narrative.
The voice over technique also serves a symbolic purpose due to the fact that one of the main themes in film noir is the duplicity of individuals and this is literally reflected in the way that the voice over technique is used to create a disconnect between what the main characters thoughts and their words and actions and this helps to create a sense of moral ambiguity because the audience doesn’t know if the main characters are reliable narrators because the aforementioned disconnect between the characters thoughts and actions sows seeds of doubt in the minds of the audience because it creates uncertainty as to weather the protagonist is good or evil.
How do the early films of auteur director Stanley Kubrick compare to his later works in terms of the use of cinematography as a principal storytelling device?
(Explained using examples from “2001: A Space Odyssey” – 1968 and “Full Metal jacket” – 1987
What is an Auteur Theory ?
Auteur theory is a theory of filmmaking in which “The director is viewed as the major creative force in a motion picture” (1)
“The auteur theory, which was derived largely from Astruc’s elucidation of the concept of Caméra-Stylo (“camera-pen”), holds that the director, who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay.” (1)
In essence, An auteur is a director who is in full creative control of their film, this is usually identifiable by having original traits or styles that they may have popularised / invented or are known for using often.
What are Kubrick’s textbook characteristics/ styles/ themes than run through most of his films?
Symmetry – the use of one point perspective. Although one point perspective is not an exact representation of symmetry in cinema, it is a way of creating cinematic shots with near perfect symmetry. O.P.P is perfect for drawing the viewers attention into the center, Kubrick used it to encapsulate the viewer in his fictional environments, this is so effective due to the fact that there is only one way out – forward, for example in “The Shining” – 1980 When following Danny through the halls, the viewer is constantly moving forward with Danny, therefore immersing the viewer into the film as if they are in just as much danger as Danny. It can be very subtle but many films have used it especially 2001 and Full Metal Jacket
Tracking shots – especially the “Steadicam”. This is another technique used in many of his films. Tracking shots are any shot where the camera moves forwards, backwards, or along the side of / with the subject as it moves. Usually tracking shots are constructed by putting a camera on a Dolly then on a track however if following in front or behind the subject, the tracks will be seen. This is the reason for the invention of the Steadicam, not only is it easier to maneuver and set up (no need for a track) but there is no trace of presence unlike a track. Kubrick uses this constantly to help connect his audience with the characters and incite all the different emotions the subject might be exposed to. In 2001 the tracking shots helped preserve the symmetry as Dr Bowman moved through the space station’s tunnels because the camera moved with him. In Full Metal Jacket, tracking shots follow the sergeant as he speaks to each of the soldiers in a line, its a smooth way to follow him looking from soldier to soldier whilst preserving symmetry.
Wide angle lens – Kubrick was extremely interested in the wide angle lens in his early photography and he has carried it into his films as a beautiful technique that he likes to pair with one point perspective. The wide angle lens is like a feast for the audiences eyes as there is much more to take in, its subtle and extravagant at the same time, enough to become a staple technique but no enough that it seems disruptive or uncomfortable. Kubrick has created a perfect balance of subtlety and originality. This is what makes Kubrick such an amazing film maker.
Monolithic themes: Kubrick often uses monolithic beings/elements in his films that are far more powerful than our characters, these beings / elements convey a sense of dystopian control. This can be obvious in 2001 in the example of HAL: being a super computer with immoral intent and nearly full control over our protagonist and his surroundings. Or it can be very subtle like in full metal jacket the idea of war being a type of dystopian control, as if referencing to a future world where everyone fights for survival. This links to the timeline of Kubrick’s films where before “A Clockwork Orange” – 1971 Kubrick’s films presented these monolithic beings/ elements in very visual ways like in 2001, The Shining and Dr Strangelove – 1964. Whereas after Clockwork, the style did slightly change, and these monolithic elements started being displayed in a more conceptual way. In fact, a quote from Gilles Deleuze talks about these monolithic beings / elements as being products of a “cinematographic brain”. He talks about how the Mise En Scene is a brain and the beings inside it are on a journey through it, these monolithic beings / elements are catalysts for change and evolution and propel our character through not only the story, but through the cinematographic brain. However it is worth mentioning that in Full Metal Jacket the drill sergeant also represents the monolithic themes, He is extremely harsh and inhumane. But as well as that he is a catalyst for change, similar to the obelisk / monolith in the 2001. He is the reason these characters become what they are and is a very big part of the “Cinematographic brain” that Deleuze talks about. This obviously is a very visual representation of the monolithic themes, similar to 2001, which begs the question how much of Kubrick’s cinematographic auteur style, relies on Alcott, and how much is influenced by him?
“If we look at Kubrick’s work, we see the degree to which it is the brain, which is the Mis[e] En Scene. Attitudes of body achieve a maximum level of violence, but they depend on the brain. For in Kubrick, the world itself is a brain, there is identity of brain and world, as in the great circular and luminous table in Dr strangelove, the giant computer in 2001: a space Odyssey, the overlook hotel in the shining. The black stone of 2001 presides of cosmic states and cerebral states, it is the soul of three bodies, earth, sun and moon. But also the seed of three brains, animal, human, machine. Kubrick is renewing the theme of the initiatory journey, because every journey in the world is an exploration of the brain“ (3) – Gilles Deleuze
Here, it seems, Deleuze is referencing to how kubrick’s style is exponentially more than what can just be seen on the screen. Each different component seen in his film is like a catalyst to spark emotions, they all work together interchangeably and form a giant “brain”
“For in Kubrick, the world itself is a brain, there is identity of brain and world, as in the great circular and luminous table in Dr strangelove, the giant computer in 2001: a space Odyssey, the overlook hotel in the shining.” (3)
Even though Kubrick’s later films did not have Alcott as a D.O.P, regardless of how it visually looks, Kubrick’s ability to create a deep and incredibly complex world that’s almost representative of a brain is still there and that plays a big part in distinguishing his style.
How did Kubrick’s Style Develop and where did it come from?
A large proportion of kubrick’s visual style was derived from his previous work as a street photographer, capturing the highs and lows of life in New York.
most notably his use of the wide angle lens and O.P.P – the vanishing point:
At this age, Kubrick’s style was still developing, however we can see some early inspiration for the deep focus that is an important factor in the wide angle shots we see in his later films, especially 2001:
Kubrick’s partnership with Alcott
Kubrick first started to work with Alcott on the film “2001: A Space Odyssey” (1968). It is evident here that Alcott helped Kubrick to voice his style, all the early ideas blossomed into reality during this partnership. 2001 was a breakthrough in cinematography and Visual effects, in fact, it won an academy award for best visual effects. This was kubrick’s first film that left an immense impression on the world and brought his name to the top. Alcott & Kubrick introduced multiple beautiful cinematographic techniques into this film like the O.P.P, tracking shots and the wide angle lens + deep focus. And although there was evidence of these techniques earlier on in his career, Alcott really helped him to bring it into practice in his films. After 2001 Alcott worked on 3 more films with Kubrick as his cinematographer:
Clockwork orange – 1971. Barry Lyndon – 1975. The Shining – 1980.
These were all visual masterpieces, anything from the Mise-En-Scene in Clockwork Orange to the cinematography in Barry Lyndon and The Shining. However The Shining was the last film that they worked on together due to Alcott’s death in 1986. This leads us to Full Metal Jacket where the cinematographer is now Douglas Milsome.
How does his visual storytelling change throughout his career.
In order to answer this i will have to closely look at the cinematography in from one of Kubrick’s earlier films: “2001: A space odyssey” 1968. And compare it to one of his last films “Full metal Jacket” 1987. I will assess the range and volume of cinematographic techniques and decide whether each one is narrative driven or visually driven – through the cinematography.
[ Research done on separate document looking at specific examples to compare cinematography ]
research:
2001:
timestamp 17:12 starts with a establishing shot of the current world, although this isn’t the first shot in the film, it is establishing the narrative jump in time, from a more primitive time with primitive basic shots to this futuristic society, we get to see the earth from the space as if to represent mankind evolution and colonization of space. The cinematography is able to express the narrative without any human subjects or dialogue
if we compare this to full metal jacket where at 1:16 we have another establishing shot, we can see that the scene is more narrative based, rather than using the cinematography as its own device by enticing the viewer with brilliant cinematic shots, it directly follows the character to keep them in shot, moving with them – the narrative moves the camera.
2001 does this constantly throughout it’s film, extraordinary shots of space with little to no human subject, creating the narrative on its own. Whereas full metal jacket uses many simple tracking shots to represent the narrative pulling it along with the characters.
This uncovers the foundation of my argument about Kubrick’s use of cinematography as a story telling device changes throughout his career:
during the start of his career his films were heavily based on beautiful cinematography, i believe that Kubrick’s partnership with Alcott inspired him and drove him to create these masterpieces. In films like 2001 or the shining, the magnificent shots are what create the narrative and story, to the point where it seems that if the human subjects were removed, the story would continue. We can be introduced to their worlds without any context, just what we can see, however in Full Metal jacket it felt very narrative based, we move with the subject and every shot seems to be based around the character.
It is evident then, that in Kubrick’s later films (specifically after the loss of cinematographer John Alcott) the narrative carries a heavier priority in the end product over the cinematography.
2001: 24:38 camera not moving but the moon in the background is represents that the film is less based upon the characters and the narrative but rather of the evolution and progression of that cinematic universe.
older films seem artificial because the cinematography is so innovative, however newer films are made so cinematography brings viewer into the narrative, the Steadicam brought the viewer in whereas 2001 kept them away, stopped them empathising and rather made them watch.
2001’s cinematography seems artificial because it very obviously is. Practical effects were used over CGI to make it seem like the characters were actually in zero gravity, large spinning sets were actually created to simulate the ship, the camera would stay fixed as the set rotated and the actor walked to stay upright, because the camera moved with the set, it made it look like it was the actor that was the odd one out and was moving giving it a impossibly weird, centrifugal gravity effect, because 2001’s cinematography was so stylistic and artificial, it pushed the viewer away, this mean’t that the viewer would view the film from an outside perspective, as a member of the audience rather than being immersed into the narrative. By the time FMJ was released, Kubrick had started to value the importance of narrative and immersing the viewer into it, additionally, with the invention of the Steadicam, Kubrick was able to do combine beautiful shots with perfect immersion to help encapsulate the viewer into the narrative.
Additionally, the way Kubrick used the camera as a narrative device changes by the time we get to FMJ. In 2001 the monolithic themes are represented very literally in the example of the obelisk type monument. From 48:07 onward in that scene, Kubrick
FMJ – monolithic theme is the camp and the drill sergeant is the output for it. In fmj we have an emotional connection and we interact with the monolithic themes through joker – immersing us into the narrative, in 2001, there is no emotional connection between HAL and Dave. in 2001 moon scene with obelisk, the absence of dialogue, facial close ups and emotional connection helps portray the scene as more aesthetic than as narrative progression to the story.
2001 in 1:29:36 the close up of Dave reminds us of private Pyle, dehumanised by the situation, however unlike in FMJ there is no counterweight, no output to connect emotionally to the situation, there is no Joker for us to see the world through, since there isn’t this emotional connection, once again, it seems an aesthetic move rather than a method of storytelling. The audience has to force themselves into the film (2001) because there is no perspective to see the world through like Joker is to us in FMJ.
The drill sergeant is never flinching even up to his death.
Auteur theory is the idea that the director is the major creative force in creating a film and this means that any film bears the unmistakable stamp of its director.
The Maltese Falcon would not be considered to be an auteur film by the standards of the 1940’s due to the fact that it was produced by a major studio (Warner Bros) and that it conforms to all of the cliches that are typical of the genre – the filmmakers were also working within the constraints of the Hays Code which was the set of industry moral guidelines that was applied to most United States motion pictures released by major studios from 1930 to 1968 , and this meant that the filmmakers could not show certain subjects within their films and this links to the way that the filmmakers only hint at Joel Cairo’s sexuality.
However , Blade Runner is not an entirely an Auteur film due to the fact that it is not entirely Ridley Scott’s original vision , as there were multiple directors and writers who were attached to the project before Scott took control of the project – but the sci – fi hallmarks that are typical of Scott’s work are present in Blade Runner so this film is immediately identifiable as one of Scott’s films , so it could be argued that Blade Runner is an Auteur film – Blade Runner is more of an auteur film than the Maltese Falcon because at the time of its release , it presented an original vision of the world to the audience while the Maltese Falcon was unoriginal at the time due to the fact that film noir was already a popular genre.
To what extent have modern science fiction films changed since the birth of the genre, shown with The War of the Worlds (dir. Byron Haskin, 1953) and The World’s End (dir. Edgar Wright, 2013)?
Elements of Science Fiction – stories often tell about science and technology of the future – stories are grounded in science – characters can include robots, aliens, creatures, etc – conflicts tend to center around technology or issues with society – stories often explore potential consequences of scientific innovations – stories can be set in outer space, other worlds and parallel universes – there are often features of biology, including enhanced humans – stories can feature paranormal elements, such as telekinesis – stories can often be allegorical or have hidden meanings
War of the Worlds This film is set in 1953 California, when the Earth is suddenly invaded by Martians. They start to destroy cities across the world, and the people are powerless to stop them. The narrative follows the character of Dr Clayton Forrester, who tries to survive the attacks while finding a way to kill the Martians. In the end, the Martians are killed off by bacteria in the Earth’s atmosphere, as they had no resistance to it.
This film follows traditional conventions of science-fiction, as the narrative surrounds an alien invasion of Earth.
The World’s End The film follows five friends as they attempt a pub crawl in their hometown of Newton Haven. They soon discover that the whole town has been replaced by androids, and they carry on the pub crawl in an attempt to remain undetected. Eventually, the androids find them, and the five try to escape while continuing the pub crawl. The two main characters, Gary and Andy, find the androids’ hiding place and confront them. The androids then leave Earth, but create an electromagnetic pulse that sends the planet back to the Dark Ages.
How do the specific historical contexts of the Second World War and the Cold War inform the narrative conventions of Film noir and Neo noir ?
How does Blade Runner and the Maltese Falcon present masculinity? and how do those portrayals differ from each other ?
How did the portrayal of women of women in these two films draw from the social context of the time?
How does Blade Runner achieve genre hybridity and how many elements of classic noir does the film contain when it is compared from the Maltese Falcon ?
How do the male and female characters portray the gender norms of the time and how are they reinforced ?
The development of film theory was influenced initially from second wave feminism, and women’s studies in the 1960’s/70’s. A main aspect of the theory is generally based around how women were being sexualised throughout the mid 1960’s particularly through the era of second wave feminism. However, theorists such as Clover argue that women are not always the victims because they are typically the only survivor and face an intense showdown with the rival throughout the film. These characters succeed due to their own skills and instincts rather than being saved by a male character
However, it can also be considered that these characters are on the gender borderline with many having ‘masculine names’ (such as Ripley and Laurie Strode). Also, when successfully defeating the male antagonist, they do so by taking up a weapon such as a knife or chainsaw to finally defeat the killer or entity. The idea of a typically male dominated audience of the horror genre, identifying with a female protagonist raises many questions about the relationship between feminism and the horror (particularly slasher) genre.
The Maltese Falcon was released in 1941 during the second world war and it is part of the original film noir movement which became popular due to the pessimism and darkness of the war years. The film contains many narrative devices that would later become hallmarks of the film noir movement, like the private eye protagonist having voiceovers and the presence of a woman who tries to lead him down the path of crime.
This film fits into the stereotype of film noir because it contains most of the established tropes that the movement is known for, like the femme fatale. The film taps into the anxiety that many Americans would have been feeling during the war and Sam Spade (Humphrey Bogart) represents the ideal of masculinity at the time – he is smart, strong and independent and this is the ideal that men at the time strove for. The film is concerned with themes of morality and many of the characters are morally ambiguous, and this is a trait that it shares with Blade Runner. The mise en scene in classic film noir is high contrast due to the black and white cinematography.
Humphrey Bogart and Mary Astor
One of the things that film noir and neo – noir is known for is the sharp, no – nonsense dialogue and this is a feature that both films share and this links to the themes of cynicism and bitterness that are typically associated with the genre of film noir.
Blade runner was released in 1982, 41 years after The Maltese Falcon, and it blends elements of film noir with elements of sci – fi and the film was released during the Cold War , there is a subtext that links to the anxiety about nuclear annihilation which was not present in The Maltese Falcon and the film is a lot more explicit because it talked about the disastrous effects of environmental destruction.
Despite this film’s genre hybridity, it contains many of the classic stock characters of film noir, like the private eye protagonist and the femme fatal – the inclusion of these characters is intended to be a reference to the classic film noir of the 1940’s and 50’s and much of the film’s aesthetic is derived from the films of this era and it is combined with futuristic visuals. Blade Runner is not part of the classic noir movement and many of the tropes that appear in this movie do so in a manner that is self – referential.
Harrison Ford and Sean Young
The aesthetics of film noir were influenced by the German expressionist films from the 1920’s and 30’s and this influence is evident in the black and white visuals of the Maltese falcon; this influence is not as evident in Blade Runner as it uses colour cinematography. Blade Rummer also talks about the humanity’s destruction of the environment which links to the Cold War anxiety about nuclear war. Both films are bitterly cynical about what is happening in the world and both protagonists are hardened and bitter detectives.
Blade runner is intended to be a direct homage to the film noir of the 1940’s and this film consciously references the tropes and conventions that are present in films like The Maltese Falcon.
Archetypes
There are several archetypes that are associated with film noir, these are:
The private eye – he is often bitter and cynical. Spade and Deckard fit neatly into this archetype. They are often anti – heroes with a dubious sense of morality. He is often the narrator of the film
The femme fatale. A beautiful woman who uses her charm and sexual allure to attempt (sometimes successfully) to destroy the man. Pris, Rachel and Ruth Wonderly/Brigid O’Shaughnessy all fit into this archetype.
The corrupt cop – could possibly be symbolized by Blatty.
The aesthetic for film noir is sharply defined and immediately recognizable with the black and white cinematography and films with the established conventions of classic film noir e.g. The Maltese Falcon. Blade Runner conforms to some of the tropes of film noir, but this is done in a self-aware way and it does not have the immediate association with the film noir genre for audiences due to the sci – fi elements of the story and the colour cinematography which is one of the major things that differentiates neo – noir films from classic noir films.
The term film noir was first applied to Hollywood films by French critic Nino Frank. in his article “Un nouveau genre ‘policier’: L’aventure criminelle” (“A new police genre: the criminal adventure”) he said that “filmmakers express their own reality and many of them were from Germany” and as film noir was first popularized around the time of the rise of the Nazis and during this time they had limited resources i.e black and white film was less expensive and the filmmakers did not make much money and they used their medium in order to portray their struggle to the world.
Film noir is such a resonant genre of film due to the fact that it is often true to life and and the films do not seek to conceal the cruelty that human beings are capable of , instead the film makers seek to tell a story about how people struggle to survive in a hostile world and the reason that film noir became popular in the first place was the political tension leading up to world war two and the destruction that the war brought and neo -noir was successful because of the constant danger of nuclear annihilation that was posed to the Cold War world
The Maltese Falcon does use some stereotypes that could be considered to be offensive – for example , Joel Cairo exhibits feminine characteristics and there is an implication that he is gay. In the film he is one of the primary villains , due to the fact that he works with the Fat Man , but he is not simply a villain – he helps Spade at various point , this is emblematic of the moral duality that the characters in film noir are known for. Due to the Hays Code , which was a strict set of guidelines that filmmakers had to adhere to , the filmmakers could only hint at the characters homosexuality.
Blade Runner has more modern themes : the environment has been completely destroyed and the officers of the law are corrupt – these are more blatant allusions to the current political landscape than are present in the Maltese Falcon.
Feminist theory was influenced mainly by women studies, and second wave feminism. The latter movement was revolutionary, mainly with the concept of women taking center lead rather than just being considered an ‘other’ to men. French writer Simone de Beauvoir looked into this concept during the late 1940’s, citing in her 1949 book ‘The Second Sex’: male centered sociology was accepted as the norm. This reinforced the idea that the society was socialized into believing men were superior because society had centered around them at the time.
Inspired by the work of Beauvoir, feminist Betty Friedan objected to the depiction of women in the media and argued that women who just stayed at home were typically unhappy. This popular view spread the movement faster, leading to the need for strong, inspirational female characters to backup the popular ideas
