Cinemascope
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Posts posted by Cinemascope
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Awww hun that's sweet of you.
Honestly, why do *some* people have to assume ill intent when there is none? It's a wacky world we live in.
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But Remo was by far the hit of the event and for at least three years when ever we held a Bad Movie Marathon, Remo was there.
Wish I could have watched the Remo soundie!
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Beach Becket Bingo? Sounds like a sure-fire hit!
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I was always under the impression that these kinds of artwork are updated every so often. I've tapings from just a couple of years ago, and *everything* that was shown in between movies looked just totally different.
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It's an idea that could work, although there could definitely be problems in getting rights to some ofthe movies and/or TV series. For example I don't know how often TCM could show The Day the Earth Stood Still because it's a Fox title that usually only shows on FMC.
But, then again, they did get to show 20,000 Leagues Under the Sea even though not many live-action Disney movies have been shown before.
I think that to some degree they've tried to do that with the "TCM Underground" but on a much more far-ranging basis.
The other problem is demographics, a lot of people who like sci-fi like primarily recent fare, with only occasional interest in stuff from the 60's and 50's. And a lot of us would like to concentrate on the older fare, not so much on the recent sci-fi.
It's possible, and it would be great if there was a practical way to pull it off.
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Ah whatever happened to freedom of religion? It is one of the basic principles upon which this great country was founded.
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You are mistaken, there is no exasperation at all, just a very patient attempt to try to get an idea across and the sincere hope that the other person will understand that just because I disagree with them, it doesn't mean there should be any animosity there.
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I agree, with schedules like this, everyone is a winner!
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Well they could at least establish a special website with the same content, accessible only thru password?
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Did you use a translation program for that gem?
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The shadow would have been a nice touch, but in a way I almost prefer to leave all details as to Harvey's shape or contours entirely to my imagination.
And for the second point, I think perhaps it was intended to be dark humor.
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Oh but I did acquire a view of my own about his work, I'd seen almost everything he'd ever directed and picked up on the themes even before I did any serious reading about him. Just because I point to an essay for your enlightment doesn't mean I needed that essay in the first place to appreciate this; it just means it's faster and gets the point across.
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Yes, hun, but they aren't techniques. A technique is something different from a thematic point or counterpoint.
And in Kubrick's case, the theme isn't the violence, violence is a part of the theme, and the theme can encompass many different kinds of dehumanization.
Here's a little something you can read to understand technique a little better in regards to cinema:
Techniques
One of the main purposes of movies is to be entertaining by telling compelling stories. Many cinematic techniques have been developed to enhance the emotional and psychological experience of the viewer. New techniques currently being developed in interactive movies introduce an extra dimension into the experience of viewing movies by allowing the viewer to change the course of the movie. In traditional, linear movies, the author can carefully construct the plot, roles, and characters to achieve a specific effect on the audience. Interactivity, however, introduces nonlinearity into the movie such that the author no longer has complete control of the story, but must now share control with the viewer. There is an inevitable trade-off between the desire of the viewer for freedom to experience the movie in different ways and the desire of the author to employ specialized techniques to control the presentation of the story. Computer technology is required to create the illusion of freedom for the viewer while providing familiar, as well as, new cinematic techniques to the author.
In the digital medium, computer mediated interactivity provides opportunities for combining traditional cinematic techniques with various software technologies. Through this convergence, an interactive movie may be based on dynamically created computer graphics with virtual actors cast into particular roles and behaviors dynamically determined by the actor's character. The types of cinematic techniques available to the author include:
1. Nonlinear story trees --- there are three common forms of story trees which provide distinct types of navigation; 1) maze which converts the story into a physical model of interconnections, 2) character which allows the viewer to follow a particular character throughout the story, and 3) alternate reality which creates multiple, concurrent realities and the viewer may switch among them.
2. Gradual disclosure --- presenting information to the viewer as it is needed. This prevents overloading the viewer with too much information at one time, and can also be used to add continuity by incrementally filling in information that the viewer needs to know.
3. Parallel action --- cutting back and forth between two or more on-going concurrent events which are linked.
4. Separation --- refers to the alternation of a scene into distinct views, for example, to show a conversation from the viewpoints of two actors involved in a dialog.
5. Repetition --- much as music uses repetition to build structure within the composition, this technique can be used in moves to improve the continuity by repeating a significant detail.
6. Camera movement --- control of the viewpoint, focus, and level of detail to achieve various emotional and psychological effects.
Consider a possible future movie in which;
1. The author has used various cinematic techniques and software technologies to create a movie.
2. The viewer can interact at any level; plot, role, and character.
3. The presentation of the movie is controlled dynamically by a computer system which also monitors the viewer's behaviors as a source of interaction.
The story is constructed from a scripting language which is interpreted at run time by the computer. Therefore, the movie script can be modified at any time in response to the actions of the viewer. The scripting language is directly analogous to the movie script in that it controls the flow of events for the actors, camera movement, and scene.
Since a movie is a form of storytelling, the author can create a script which presents all of the necessary information at the particular time and place required to realize the story. The viewer, however, desires the freedom to navigate through the movie in ways possibly not envisioned by the author. Since the computer is dynamically creating the movie and monitoring the interactions from the viewer, complete knowledge exists concerning what the viewer has seen, what is required to understand later events, and the original sequencing of events as created by the author. Therefore, the script can be dynamically modified to include or exclude certain information, guide the focus of attention, or adjust the level of detail according to the viewer's previous experience.
As an example of this style of presentation, consider a detective story in which the author, instructs the computer to use gradual disclosure to first show blood stains on the carpet, then at a later time show a knife on the table. Since the movie is synthesized from CG scenes and actors, the position of the virtual camera can be controlled using stardardized techniques for the camera movement. However, the viewer may also control the camera and therefore not see the clues which the author placed in the room. In anticipation of the viewer missing certain critial information for the development of the story, the author can embed a link to a flashback sequence within the story line. This link may or may not be followed depending upon the previous experience of the viewer. If the viewer missed a critical detail, then this link will be followed and the scene may be shown with a high or low level of detail, depending upon what the viewer has previously seen in this scene. Thus, in this style of presentation, the computer controls the cinematic features and the viewer controls the subject or content. In this way the viewer has the illusion of freedom and the author can still maintain control over the experience.
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Well I'm glad we agree that gang-rape is not at all funny in any way, shape or form.
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If you find humor in violence, dehumanization or whatever you want to call it, I, personally think you have a problem, but, you are not alone.
I hope you didn't intentionally post that with "in response to: Cinemascope" intentionally, as I am 100% against the idea that there can be any humor in the kind of violence we've discussed.
There are very few filmmakers who have been able to look into the dark side of the human soul and come up with films that can truly be considered achievements; Kubrick and Scorsese stand out among them. I don't think their films are going to be to everyone's liking, but for what they are, and assuming that the viewer is interested in the exploration of such thematic matter, they are among the best.
But I totally agree with you, Anne, some people really don't want to watch violence of that kind, and I respect that completely.
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So does anyone have any info on whether or not Technicolor was considered at any point for The Mark of Zorro? I'm curious as to whether b&w was a deliberate artistic choice or the product of budgetary considerations or availability of Technicolor cameras.
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Harlow Gable I'm not sure about, I need to check out the storage.
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I don't know if you do or not but there are sometimes more than one theme in the work of a great artist, in case you don't know that.
Now here's an interesting essay I found on the subject of SK and dehumanization.
Dehumanization in Stanley Kubrick Films
Stanley Kubrick's films often focused on dehumanization and the dark side of human nature. Dehumanization was a common theme in Kubrick's films. Kubrick commonly used this theme because he was fascinated with the dark side of human nature and not because he thought all humans were basically evil. The best examples of his trend are A Clockwork Orange, The Shining, and Full Metal Jacket. These three films explored dark side of the human psyche and the violent nature of human beings.A Clockwork Orange is probably the most notorious of all the Kubrick films that explored the dark side of nature. The main character, Alex, is a psychotic rapist who gets sent to prison for murdering a woman. While in prison he is selected for an experimental procedure that supposedly cures violence. They way it works is they strap Alex is front of a big screen and force him to watch violent acts over and over again. They condition him to feel sick anytime he gets the urge to use violence. But by the end of the movie Alex is back to his old ways and thoughts again. A Clockwork Orange is not a very uplifting movie. There are numerous scenes of rape and violence. I think the message Kubrick was trying to convey was that violence doesn't solve violence. Conditioning a human to become sick anytime they get the urge to be violent. Kubrick once said that Alex represents someone without a conscience, original sin, and he represents man in his natural state. Even though the film is violent it is a great examination of the dark side of human behavior.The Shining is another good example of dark side in Kubrick's films. The Shining is about a family that stays at a hotel during the off season to take care of the place. Jack Nicholson plays the father, Jack. Staying with Jack at the hotel is his wife and son. Their son, Danny, has a special psychic abilities which he calls shining. Jack eventually starts to go insane after spending a few months stuck inside a hotel with his family. As the movie progresses we see Jack continually break down mentally until he finally snaps and tries to kill his family. The hotel where they stay is haunted and Jack begins to see things and people who aren't supposed to be there. These supernatural entities are the ones that push Jack over the edge. He was already disturbed before he saw any ghosts but it was the ghosts that influenced him to kill his family. The isolation that Jack felt made him paranoid and he believed he had to kill his family because they were trying to interfere with him and his job as the caretaker of the hotel. One camera shot in particular displayed Jack's descent into madness. It is the glare shot which is a common shot in Kubrick films which tend to show a character's emotional meltdown by showing a close up of the actor with their head tilted down slightly and their eyes looking up straight into the camera. In the Shining, the glare shot occurs when Jack is staring out a window and viewing a snow covered ground. The camera slowly zooms in on Jack who has demented look on his face. That one shot says it all without one word of dialog.Full Metal Jacket is great depiction of dehumanization. In Full Metal Jacket a group of enlistees for the Marines are put through hell in training camp and then face hell again when they are deployed to Vietnam. The scenes that depict the training are arguably the best scenes in the movie. The drill sergeant, who is played brilliantly by R. Lee Ermey, is absolutely brutal to the trainees. One trainee in particular gets the brunt of the drill sergeant's punishments. Private Pyle, who is played by Vincent D'Onofrio, is overweight and slow which makes him a target of the drill instructor. The whole point of the drill instructor is to make the trainees capable of killing. The drill instructor pushes Pyle so hard that Pyle begins to go insane and eventually he shoots the drill instructor and then puts the gun to his head. Once again in Full Metal Jacket, the glare shot is used. This time it is in a bathroom where Private Pyle is sitting on a toilet with an M16 in his hands. The glare shot shows just how much Private Pyle has changed since the beginning of the movie. In the beginning he was a cheerful fun loving type. Eventually, all the insults and beatings get to him and he loses it. Full Metal Jacket is the best example of dehumanization. It shows how Private Pyle is systematically conditioned to become a killer. He loses the innocence that he had before arrived at training camp and becomes a psychotic killer who kills himself.These are just three examples of dehumanization and the exploration of the dark side in Stanley Kubrick films. Most of Kubrick's other films have excellent examples of dehumanization as well. Stanley Kubrick was an amazing director who delved deeply into the human psyche where many other directors would not go.
http://www.associatedcontent.com/article/7977/dehumanization_in_stanley_kubrick_films.html
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Nobody here has tried to define the themes of Kubrik's work with one word -- it's simply acknowledging one of the overarching themes that can be found in many of his films. That's not by any means "grossly simplistic" as it doesn't intend to be an all-inclusive thematic analysis but is merely a mention of one theme.
And you can stand by your statement all you want but dehumanization isn't necessarily limited to violence, although you do not seem to be able to grasp that.
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Priests? Where? :0
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You're welcome marcco44, glad you enjoyed it
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Well I would call it technique! the common theme is violence by humans be it sexual political or social.
Look at that statement above. First of all, dehumanization is a theme, and not a technique. There can be certain techniques used in order to establish the dehumanization, it doesn't necessarily have to be there in the dialogue. Secondly, you speak of a "common theme" that involves violence. And I'm telling you, no matter how much you try not to understand, that dehumanization does not necessarily involve violence.
I really can't explain it any more clearly than that.
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You associated violence with the theme of dehumanization, so it's not that I can't "keep up," it's that you aren't articulating your thoughts in a very coherent manner. And no, it doesn't necessarily involve anything that could be seen as a form of violence.
Not that I really expect you to understand....
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I would disagree with that as well.
***ASK MONGO***
in Information, Please!
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LOL that's a good one, thanks for the laugh