Films og Stanley Kubrick and Robert Altman

Alex is the leader of this group, and he serves as narrator as well, telling his own story in a way that is chilling because of the unembellished saneness of the go describing the most horrifying acts of effect, which can also be seen in the cable c arfully controlled images of the film. Each of the crimes committed in the opening frames pass on serve as models for later scenes in the film at one time Alex has been brainwashed and returned to society. He then experiences as victim oft of what he inflicts on others in these opening scenes. It is clear that all element is being carefully shaped to fit with the boilers suit structure of the film and with its theme. The imagery is also carefully designed, with outfits for the raiding boys that are disarming in their stylish non-threatening elements. The white shirts, dense pants, and hats become a different sort of gang image than we know today, that once the imagery is set in the viewer's mind, on with a new language and other clearly foreign elements, the viewer begins to identify good and evil, sanity and insanity, base on the symbolism of clothing, colors, language, and so on.

The control exerted by Kubrick is apparent as the boys drive through the night, with the three figures draped carefully in the shell of the car, while the changing lights and the rhythmic rocking of the car creates a visual image that is powerful in anguish of being obviousl

y design for maximum effect. Every color is precisely chosen, either respite in light carefully determined, and even the expressions on severally boys face indicative of that boy's character and of the attitude of a generation. The scenes of violence are also stylized, often set to practice of medicine--Kubrick is not dealing with historicalism but with expressionism and is giving the viewer the sense of events on with an overlay of symbolic meaning, with the more grandiose elements--the singing, the dancing, the violence along with the music--carrying the proceedings to the realm of fable. This becomes important in the latter one-half of the film as the protagonist loses his ability to enjoy music even as he also loses his propensity for violence.

The symbolic nature of the action serves well once Kubrick begins to show the richness of freedom even for social misfits like Alex.

Altman and Kubrick two(prenominal) chance on that the veneer of civilization is more an illusion than a real representation of the inner gentleman being. The producers who battle over every bit of recognition and acclaim in The Player are ultimately willing to kill to achieve their goals, or to let off and even reward a killing if that serves their purpose. Society for both filmmakers is a battleground where survival of the fittest remains the driving pull out determining human activity. This impetus may have shifted from the jungle to the city, but it is still the guiding motivation for much human action and the determining factor in who succeeds and who does not. The protagonists in both pictures succeed not in spite of their criminal tendencies but because of them. Alex is overtly criminal, and the producer in The Player has a barroom of larceny in him, though he becomes a receiver by accident rather than design. Both succeed. Alex goes through considerable torture before asserting his mighty to be violent, his right to maintain his own sense of self, and the primacy of the self over society. The producer succeeds in spi
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