A clockwork orange (S. Kubrick)

Résumé du document

The problematic axis of the course « Hollywood-Europe-Hollywood » is based upon the reciprocal interaction between European cinema policy & Hollywood film industry. In as much as it insists on the backward & forward motion of the influence from one model to the other, this thesis underlines the interpenetration of the two. It is premised upon the assumption of the existence of a dichotomy between Europe & Hollywood determined by a set of definition criteria. The categorisation of the Western cinema is artificially established within the theoretical framework for the sake of comparative analysis. The postulate of two distinct – albeit interdependent – systems is backed up with the empirical observation of their dissimilarity that justifies this conceptual division. A host of conventional rules of differentiation are laid down with a prospect to create generic & stylistic unities that enable a specific approach.

Extraits

[...] The aim of the assignment is hereby to comprehend to what extent it epitomises a new filmic & cinematographic paradigm more & more involved in a consideration on its own nature & function as well as simultaneously on the nature & function of the representation. In order to delineate its quintessence, the dissertation endeavours to research the idiosyncrasies of Stanley Kubrick's oeuvre. The first chapter will discuss the economics & politics of Stanley Kubrick's work, i.e. its filmic aspect or its relationship with the world around it (2.). [...]

[...] 16-33 - David BORDWELL, Classical Narration: The Hollywood Example in David BORDWELL, Narration in Fiction Film, Madison: The University of Wisconsin Press p. 156-204 - David BORDWELL & Kristin THOMPSON, Film Art: An Introduction, New York City: McGraw-Hill, 4th ed [1979] p. - Andrew HIGSON, The Limiting Imagination of National Cinema in . ? (edited by Cinema & Nation, London / New York City: Routledge p. 62-73 - Peter LEV, The Euro-American Art Film: Definition in Peter LEV, The Euro-American Cinema, Austin: University of Texas Press p. [...]

[...] Sandro BERNARDI, Le Regard Esthétique ou la Visibilité selon Kubrick, p. 29: [Son] œuvre est toujours tiraillée entre une orientation narrative classique (qui la rend acceptable pour le spectateur traditionnel habitué à une représentation anthropologique) et le cinéma d'avant-garde expérimental (qui tend à un éclatement de la représentation). ( The ambivalence of the image, at once form & colour as well as representative sign, refers to the distinction stated by Sergei Eisenstein (1989-1948) between seeing & looking: there is always a fight between the sentient appearance & the significant interpretation. [...]

[...] In order to attain a maximal efficiency on the exploitation market, the cinema as an economic activity is rationalised through the instauration of the Studio System, i.e. a network of compan[ies] in the business of manufacturing films. Even if no longer comparable to a vertical monopole that assures the quasi totality of the stages of genesis of the film, the sector still dictates so extensive a number of exigencies that the Hollywood mode is at first sight antithetic to the idea of authorship. [...]

[...] Yet it is not a sealed entity since it contains a forward momentum, which signifies that it / . / advance[s] the casual progression & open up to new developments. Hence the linearity of the Hollywood construction, the communicativeness of which renders all the more obvious. This aspect is accentuated in case the syuzhet adheres to chronological order & omits the causally unimportant periods of time: The classical narration reveals its discretion by posing as an editorial intelligence that selects certain stretches of time for full-scale treatment (the scenes), / . [...]