on The Auteur theory: Stanley Kubrick or any similar ..

This distinguishes Stanley Kubrick as a film maker and also places his films in their own genre....

Stanley Kubrick was an auteur and an iconic influence in film

A carefully organized -- perhaps overly organized -- synthesis of Kubrick's ""working: principles"" along with summaries of the films and the critical opinion generated. Kagan, who has taught film at the New School and is currently working toward a doctorate in Cinema Studies at NYU, obviously knows the Kubrick oeuvre well, nor is there any quarrel with his application of the auteur theory to the controversial director -- as Kagan correctly notes, ""Kubrick is clearly an auteur critic's dream."" What is questionable, however, is the flat-out consistency Kagan attributes to Kubrick's thematic inventory: ""imaginary worlds,"" ""futility of intelligence, errors of emotions,"" ""journey to freedom,"" ""triumph of obsessional, dedicated hero,"" and ""suicide-homicides"" are found in each film, according to Kagan, but the reader requires either a scatterbrained imagination or a willingness to bend these classifications out of focus to agree, for instance, that Davy's search for Gloria in Killer's Kiss is a freedom odyssey or that Alex in Clockwork Orange is triumphal in the end or that General Jack D. Ripper in Dr. Strangelove accurately represents the futility of reason. On one occasion recently when responding to the more outre criticism of Clockwork, Kubrick wrote that ""The miracle of man is not how far he has sunk but how magnificently he has risen."" Nowhere in Kagan's bullying attempt to unify Kubrick's ""psycho-social model of the world"" do we find such a clear exposition of exactly what the filmmaker is up to; moreover, the effort to systematize Kubrick has led Kagan down the paths of glibness.

Apparently, many people were anxious to see this "weird" StanleyKubrick film.

The Auteur Theory Stanley Kubrick Essay - 1210 Words

1 When Kubrick died in March 1999, I was but a young high school student familiar with only a handful of his films—but by the time his final film was released four short months later, my idolization of all things Kubrick was at a fever-pitch. This idolization continued through high school and on into my first few years of college, when my tastes became more eclectic and drifted toward more obscure filmmakers, partially as a response to my new-found awareness of the flaws of auteur theory and no doubt inspired in some regard by an elitist desire to distance myself from the figure of Kubrick as an “easy favorite” for other aspiring film students. If this personal admission seems unnecessary, I am merely following a common convention of cult movie criticism by naming my own investment and origins of interest in the subject matter, then widening my scope somewhat. As such, my observations in this article should be taken as rather speculative, being based largely upon my own experience and my conversations with fellow film buffs, most of whom have been young white American males.

Narrated by Malcolm McDowell, this short documentary examines the films Stanley Kubric.

The film itself was adapted by Stanley Kubrick, Peter George, and Terry Southern from George’s thriller novel Red Alert and was originally intended to be a drama, but was made into a satirical black comedy in the writing process (Webster 33)....


The Auteur Theory: Stanley Kubrick Essays

Strangelove, Or: How I learned to Stop Worrying and Love the Bomb (1964) Stanley Kubrick is infamous for his witty films that satire governmental and societal actions though history.

Essay on The Auteur Theory: Stanley Kubrick; ..

When director Stanley Kubrick died in March 1999, there was much eulogizing from all corners of the film world. Many critics referred to the deceased by first name, as though “Stanley,” that legendarily reclusive filmmaker, were as familiar and known to them as a kindly old man they might happen to bump into now and then at the corner store. Perhaps it was Kubrick’s long and storied career, a livelihood producing great movies poured over by consecutive generations of filmgoers, which occasioned such informality. After all, here was a self-taught kid from the Bronx who broke into the pictures and, through sheer ingenuity and vision, changed the way the world saw film. In any case, Kubrick’s legacy is undeniable and he has clearly become part of the film canon. The most recent installment of Sight and Sound’s famous Top 10 poll (taken in 2002) ranked Kubrick as the #6 top director of all time as chosen by critics, and the #5 top director as chosen by other directors. Likewise, his films (1968) and (1964) ranked highly on the polls of Top 10 films of all time, as chosen by critics and directors respectively. In these polls, Kubrick shares a lofty place in the pantheon with such fellow auteurs as Alfred Hitchcock, Jean-Luc Godard, Jean Renoir, and Orson Welles—but unlike most of those other directors (excluding Hitchcock), Kubrick remains more of a household name. Even in death, he still carries more cultural currency than many of his contemporaries, not only a reputation in the academy and the industry but also in the general public.