Film Contributions of the Sixties Essay -- essays papers

Film Contributions of the Sixties Beginning roughly with the release of Stanley Kubricks Dr. Strangelove Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the Sixties era of withdrawmaking made umteen lasting impressions on the motion picture industry. Although editing and pacing styles wide-ranging greatly from Martin Scorcesses hyperactive pace, to Kubricks retard methodical pace, at that place were many uniform contributions made by virtually of the eras seminal directors. In particular, the Sixties saw the return of the auteur, as the great unwashed like Francis Ford Coppola and Stanley Kubrick wrote and say their own screenplays, while Woody Allen wrote, directed and starred in his own consumes. Kubrick, Coppola and Allen each(prenominal) experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more app arent.Dr. Strangelove (1964), an adaptation of putz Bryants novel Red Alert, although still bearing the usual traits of a Kubrick exposure, is something of a departure for him in terms of editing and spatial strategies. The films run-time more or less corresponds with the fictional or represent time in the story. This direct correspondence between fictional and historical time adds to the sense of laic compression induced by the films insistent editing patterns. Although Dr. Strangelove employs many long takes, it contains the shortest average-shot-length of any Kubrick film. The film consists of roughly 700 shots and has a run time of 94 minutes for an average-shot-length of 8 seconds. Despite the rather short average-shot-length, Dr. Strangelove still resorts to crucial long takes to slow down the rapid momentum of the story (Falsetto, 35).Several spatial and temporal procedures are at work in Dr. Strangelove, such as the theatrical role of the long take. Conversely, the B-52 sequences, often ac companied by various versions of When Johnny Comes march Home, employ different editing patterns than the rest of the film. These edits reinforce the films theme of inevitability. Through editing, the B-52 sequences display a strong cinematic rhythm. The shots are generally shorter than the other sections of the film, and they significantly contribute to the films shorter average-shot-length, condescension Kubricks deliberate use of long takes (Falset... ...ng shots, all three experimented with elements of characterization. Kubrick utilise both subjective and objective points of view quite deliberately in his films. Coppola took the Mafia, and humanized them more so than previous gangster movies, in addition to redefining what a sequel should be. Woody Allen took comedy back to its roots, and in the process, was able to created some of the most groundbreaking comedy since Charlie Chaplin. In addition, this return of the auteurs paved the appearance for many of todays prominent filmmakers. Without Kubrick or Coppola, there would be no Quentin Tarantino, and without Woody Allen, there would be no Kevin Smith. Coppola, Kubrick and Allen have each made enduring films, and continued to do so well aft(prenominal) the Sixties had ended.Bibliography Falsetto, Mario. Stanley Kubrick A Narrative and Stylistic Analysis. Greenwood Press, Westport, CT. 1994. Girgus, Sam B. The Films of Woody Allen. Cambridge University Press, refreshing York, 1993. Johnson, Robert K. Francis Ford Coppola. Twayne Publishers, Boston, 1977. Mast, Gerald and Bruce F. Kwan. A Short History of the Movies. Allen & Bacon, Boston, 2000.