| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "STANLEY KUBRICK LIFE WORK": |
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Stanley Kubrick: An Analysis of His Life and Work, 2005.
A biographical account of the life and career of American filmmaker Stanley Kubrick.
1,110 words (approx. 4.4 pages), 8 sources, MLA, $ 38.95
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Abstract
This paper first provides biographical information on the life of filmmaker Stanley Kubrick and then goes on to take a look at his more popular films. The paper also presents brief analyses of the films and looks at what makes Kubrick's films so great and why he will always be remembered as such an accomplished filmmaker.
From the Paper
"Stanley Kubrick, who many would describe as one of the greatest filmmakers every, was born in 1928 in the Bronx, New York. Believe it or not many would say that Kubrick was not a born writer or filmmaker, but rather one that was made. This is the result of some less than spectacular early attempts at writing and filmmaking. Though Kubrick did believe that college might be beneficial at some point in his life, he was actually not able to get into college due to his tremendously bad grades in high school (SK-TMF 1). His passions while young included "jazz drumming, chess and photography" (SK-TMF 1). Considered a "non-brilliant student", it took some time for Kubrick to begin pursing his real dream... filmmaking (SK-TMF 1)."
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Stanley Kubrick's "2001: A Space Odyssey", 1994.
This paper critiques the film Stanley Kubrick's "2001: A Space Odyssey": Title, characters, technology, plot, structure, dialogue and theme.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"The ending of Stanley Kubrick's 2001: A Space Odyssey appears to many viewers to be too obscure and even to have little to do with the film as a whole, but this is a misreading of what takes place. 2001: A Space Odyssey is a film that may appear to lack a cohesive literary structure and to be instead a series of barely related incidents at different time periods, with different characters and somewhat obscure situations. The protracted journey through the starscape near the end of the film and the peculiar imagery that succeeds it, all occurring without external comment or explanation, can add to the sense that there is a lack of cohesion and purpose to the film. In truth, though, the structure of this film is carefully wrought and coheres around thematic concerns, recurring images, and a central issue that carries the plot to a logical if tentative conclusion. There is meaning in the ending, and to ascertain this meaning it is necessary to consider the structure of the entire film and the manner in which the filmmaker carries meaning through imagery and ... "
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"A Clockwork Orange" by Stanley Kubrick, 1997.
Psychosocial analysis of portrayal of deviance in the violent futuristic 1970 film.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
" The film A Clockwork Orange presents a vision of deviance in a future society, a society extrapolated from the growing urban crime problems of 1970 when the film was made. The exact year in which the film is set is not indicated, but it is likely somewhere around our current era. The film creates a sense of menace from the first, and yet at the same time, it uses strong imagery and high stylization to turn its dark vision into a black comedy. The concept of deviance by which sociologists try to explain aberrant and anti-social behavior, or behavior that goes against the norms of society, explains the delinquent activity in A Clockwork Orange, though the film undercuts a strict interpretation of crime as deviance by developing the idea that some crime is an expression of personal preference and inner freedom."
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2001: A Space Odyssey by Stanley Kubrick, 1996.
Analyzes 1968 science fiction film as expression of social yearning for cosmic, mythic connection, using [E.T.] as another example.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"Janet Hocker Rushing refers to a yearning for wholeness in our time, something that all cultures have longed for in some degree. Our own age is seen as one of fragmentation, secularization, and an absence of unity, leaving us with a modern need for transcendence such as has been noted by a number of writers. Rushing finds that we seek this sense of the transcendent in our entertainment and our art, and she refers to the fact that our modern audiences find transcendence addressed in movies, notably science fiction films that make a cosmic connection in mythic form. She cites E.T. as one particular representative of this genre, and she applies what she calls the "perennial philosophy" to this film, as will be done here with reference to another science fiction film of an earlier era and one of the first to make this mythic connection most directly..."
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"A Clockwork Orange" ( Stanley Kubrick ) and "The Player" ( Robert Altman ), 1995.
Compares the directors' styles, control, structure, character and views of society.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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From the Paper
"The films A Clockwork Orange and The Player reflect the interests and styles of their respective directors, Stanley Kubrick and Robert Altman. The two filmmakers are very different in their methods of filmmaking--Kubrick is a former photographer with an eye for composition and control, while Altman prefers improvisation and the power of the moment, often a moment created by the actors themselves as they interact with one another and with the material. A Clockwork Orange is very much a controlled work showing the hand of Kubrick in every frame, while The Player shows how Altman improvises and relies less on control and more on spontaneity. Both filmmakers are commenting on cultural and social values they see in the world around them, and both see the values of the past, and the values that actually have value, as being eroded by various forces in the culture itself. Kubrick's ..."
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Work Life and Family Life, 2003.
Discusses issues involved in these two major aspects of life.
1,800 words (approx. 7.2 pages), 10 sources, $ 63.95
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Abstract
Shows conflicts between the two. Examines the problem of achieving a balance between both. Discusses stresses felt by workers and the need of employers to be less demanding and workers to accept responsibility for balancing their lives.
From the Paper
"There are several unique phases of individual growth identified by Stanley (2002), as moving the individual from a first adolescent job to graduation from high school or college and on to working and living as a single adult, moving into autonomous ..."
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"Life After Life" ( Raymond Moody ), 1996.
Examines 15 common stages of experience of near-death phenomenon(NDE)
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
" This study will examine the fifteen different kinds of experiences described by Raymond A. Moody, Jr. in Life After Life: The Investigation of A Phenomenon---Survival of Bodily Death. These experiences are features of the dying experience. Moody's book depends on the accounts of individuals who have "died" and returned from that experience. Therefore, it cannot be seen as a scientific work. Moody admits that a "proof" of these experiences are not "presently possible" (xvi). If the reader is to get anything out of the book, he or she must open his or her heart and mind to the possibility of the near-death experience.
Moody wants to try to answer the question "What is it like to die?" (1). For such an answer, he goes to people who have had, or who claim to have had, an experience in which they have physically "died" and come back to life. They are the only ones.."
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Kubrick?s Heroes, 1996.
A review of ?Barry Lyndon? a film by Stanley Kubrick, emphasizing the direct conflict between the main character and the constraints of social organization.
1,704 words (approx. 6.8 pages), 13 sources, MLA, $ 55.95
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Abstract
This paper discusses the works of the director, Stanley Kubrick, in general, and the film, ?Barry Lyndon? in particular. Background into Kubrick's films and audiences is highlighted, and comparisons are made to other films directed by Kubrick. The paper outlines the struggles that the main character, Barry Lyndon, faces on a daily basis. The writer illustrates how such struggles not only transform Kubrick?s heroes into products of the era in which they live but also the times and conditions in which the film was made.
From the Paper
"In order to understand the meaning behind one of Kubrick?s films, one must first meet the director. He has a reputation of being meticulous in his use of detail and some critics view him as a unique artist who appeals to the audience?s intellect. They say his films ?have a way--at least with some people of working on in the mind of passing through all the stages from imitation to exhilaration (Hoffsess 152). According to The Film Encyclopedia, however, Kubrick is a fussy, pretentious, unfeeling, and self indulgent film-maker who detaches himself from the characters in his movies (767). It has been argued that his detachment is a direct result of his skepticism about the rationale in mankind."
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"Life in the Fast Lane, Life in the Ditch", 2008.
A review of Buzz Hargrove's text, "Life in the Fast Lane, Life in the Ditch" with relation to the new challenges facing the North American auto industry.
1,880 words (approx. 7.5 pages), 4 sources, MLA, $ 60.95
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Abstract
This paper reviews a short address by Buzz Hargrove entitled, "Life in the Fast Lane, Life in the Ditch." The paper reviews the text from ethical, complexity theory and globalization perspectives. It particularly discusses Hargrove's text with relation to the new challenges facing the North American auto industry and its relationship to the Japanese.
From the Paper
"Having performed the valuable governance function of re-framing the Hargrove article through three different lenses, this writer cleaves to the view that Hargrove is fundamentally right in many ways; after all, globalization and international trade should not (at least in theory) create and perpetuate inequalities. At the same time, Hargrove's belief that the old Auto Trade Pact will resuscitate things is much too sanguine; the auto sector in this part of the world will also need to become more open to the potentialities of new global markets and to new technologies if it hopes to reverse its fall. On the whole, however, Hargrove's article is rational and deserving of attention."
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Kubrick and Moliere Compared, 2002.
Compares Stanley Kubrick's movie "Barry Lyndon" by with the play by Moliere "The Would-Be Gentleman".
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This paper will compare and contrast the movie "Barry Lyndon" with the play "The Would-Be Gentleman" and will give a history analysis between the two in this scope. By understanding the two different themes of history here, we can see how they resemble each other yet have historical differences in the approaches they use in this period of history.
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"Dr. Strangelove" and the Cold War in America, 2005.
This paper examines and compares some of the themes in Stanley Kubrick's "Dr. Strangelove" and compares them with real-life events during the Cold War.
1,237 words (approx. 4.9 pages), 2 sources, MLA, $ 42.95
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Abstract
Stanley Kubrick uses satire to provide a very different view of the Cold War. This paper shows Kubrick's overall critique of the Cold War and how some events in the movie are related to the events of the time. Also uses examples from the movie and other authors.
From the Paper
"The Cold War developed after World War II between the United States, with their allies, and the Soviet Union. It was a very tense time in American history marked by suspicion, distrust, paranoia, and most importantly misunderstanding. In Stanley Kubrick?s film, ?Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb?, he takes shots at all of these different attitudes toward the Cold War. Kubrick?s mind developed a very different view of this time in American history, one of sarcasm and ridiculous characters, but his film will go down as one of the first of its kind."
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"A Clockwork Orange", 2005.
A review of the difference between the original and the screen adaptation of "A Clockwork Orange: The Visions of Anthony Burgess and Stanley Kubrick".
1,125 words (approx. 4.5 pages), 0 sources, $ 44.95
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Abstract
This paper discusses "A Clockwork Orange: The Visions of Anthony Burgess and Stanley Kubrick". The paper suggests that while the original and the screen adaptation both masterfully capture the troubled and violent life of Alex de Large, both versions do have some strong variations on points of emphasis that a person familiar with both will most certainly vividly notice.
From the Paper
"A Clockwork Orange: The Visions of Anthony Burgess and Stanley Kubrick As an example of Twentieth Century Novel writing and Cinema, A Clockwork Orange stands as a classic in both genres. While the original and the screen adaptation both masterfully capture the troubled and violent life of Alex de Large, both versions do have some strong variations on points of emphasis that a person familiar with both will most certainly vividly notice. On the other hand, if an individual were to only experience one and not the other, the basic thematic structure would still be experienced from either work in itself."
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Clockwork Conditioning, 2004.
A review of Stanley Kubrick's film, "A Clockwork Orange".
1,502 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper discusses how the movie, "Clockwork Orange", is famous for its dystopian take on behavioral conditioning and criminal reform. It looks at how the majority of the plot revolves around the violent tendencies of a savage young English fellow who undergoes drastic aversion conditioning to make him unable to participate in violence, sexuality, and, incidentally, Ludwig Van Beethoven?s 9th Symphony. It examines how, in this work based on a book by Anthony Burgess, famed film director Stanley Kubrick explores the ramifications of behavioral therapy itself in terms of free choice and unintended consequences and how he seems to suggest that the idea of solving violence through scientific psychological brain-tinkering is doomed to fail at the hands of real-life stimuli.
From the Paper
"The film begins by showing Alex, the protagonist, partaking fully in his violent and sexual past-times. This choice, in addition to being artistically necessary, also serves to demonstrate the sort of instrumental learning that Alex had before entering into his reprogramming therapies. According to the basic theories of operant conditioning and thinkers such as Skinner, all of an individuals future actions will be based on whether past actions along those lines have met with positive or negative reinforcement. It is blatantly obvious by observing the early parts of the film that all of Alex?s ?ultra-violence? has met with very positive reinforcement. Violence is shown to be meeting the majority of his biological and emotional needs in a way that his work-obsessive and nearly non-existent family cannot. Violence has provided him with a way to make money and fulfill his need for drugs and food (such as the milk he drinks at the beginning of the film)."
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Socrates and the Just Life, 2008.
This paper examines Socrates' view of the just life and why such a life is better than the unjust life.
1,410 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
This paper presents Socrates' discussion of why the just or "good" life far exceeds the unjust or "bad" life that is given over to the rapacious pursuit of material and corporeal gratification. The author points out that the core of Socrates' moral philosophy is the emphasis on the ability of human beings to think rationally and to use moral precepts to arrive at a means of living and a way of life, which allows them to be proper citizens as well as contented and balanced individuals. The paper relates that, in this view, the soul can only be made peaceable and agreeable if a person seeks out only moral or "pure" pleasures and eschews bad actions. The author concludes that, generations later, Socrates' work continues to serve as a remarkably didactic and important contribution to the western philosophical tradition.
From the Paper
"When reviewing Socrates' "Crito", it must be said that one of the chief arguments which arises is the argument that the just life is one means - perhaps the ultimate means - by which a man (or woman, though women were not discussed as possible philosophers by Socrates or by the other ancient writers) can maintain individual freedom and not fall to the debased status of a slave. Specifically, a man or woman is not truly free unless she applies human logos (the gift of the critical, inquiring mind) to the difficult question of what is truly just and proper within a particular situation."
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"A Clockwork Orange": Novel and Movie, 2008.
A comparison of Anthony Burgess' novel "A Clockwork Orange" with Stanley Kubrick's film adaptation of the same novel.
865 words (approx. 3.5 pages), 0 sources, $ 30.95
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Abstract
This paper compares and contrasts Anthony Burgess' novel "A Clockwork Orange" (1962) with Stanley Kubrick's film (1971) based on the novel. The paper points out that when the book was originally published, the publisher left out the final chapter. In its second publication, the novel was printed with Burgess' intended amount of chapters, twenty one, the supposed age of human maturity. The paper explains that this provided a more optimistic ending to the original, more cynical book. It maintains that Burgess intended to write a story of human maturity and progression, and believed that Kubrick's film lacked a balance between goodness and evil. To conclude, the paper questions whether or not Kubrick had the right to alter Burgess' meaning.
From the Paper
"The film, on the other hand, does not include this rebirth. The film closes with, "I was cured all right." This sarcastic statement completely changes the theme of the film from a positive message of genuine change to a pessimistic view of the world. It illustrates that evil will ultimately prevail over morality when free-will is granted. It also ends the film on a rather unrealistic note, suggesting that people can be completely evil, without a hint of internal goodness. Yet we as humans are a mixture of good and evil. This idea reflects Kubrick's cynical view on life; that people are driven by greed and violence."
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