What’s behinf the Kubrick’s characters?

Mariana Schwartz (Beira Interior University)

What’s behind the Kubrick characters? This question guides this audiovisual essay. The purpose is to respond with an answer that may seem obvious, but is not necessarily the first one viewers would consider. It is well known that in cinema, and especially in fiction films, elements are rarely arranged at random in a scene. The professionals involved in the production of a film seek to tell a story and immerse the viewer in the work, using various devices to achieve this. Leading the art department, the production designer brings to life the universe in which the narrative unfolds. Despite the centrality of this task, production design remains relatively underexplored in academic research (Barnwell, 2018). Many aspects are taken into consideration in the execution of their work, such as the time and place where the story takes place, the personalities of the characters, and the director’s intentions. It is possible to find locations that suit a specific scene, but other times it is necessary to build a set in a studio or even outdoors (Tashiro, 1998; Heisner, 2004). 

Many researchers discuss the “breaking of the fourth wall” in cinema (Metz, 1980; Xavier, 2003; Rosenfeld, 2010), but this essay aims to focus, literally, on the other “three walls.” In most productions, spaces must be adapted to the story, which often means walls are constructed, renovated, painted, or decorated. In films, characters are often surrounded by walls, yet this is an element that often goes unnoticed by the viewer. The following feature films directed by Stanley Kubrick compose the corpus for this essay: Eyes Wide Shut (1999, production designers: Leslie Tomkins and Roy Walker), Full Metal Jacket (1987, production designer: Anton Furst), The Shining (1980, production designer: Roy Walker),  Barry Lyndon (1975, production designer: Ken Adam), A Clockwork Orange (1971, production designer: John Barry), and 2001: A Space Odyssey (1968, production designers: Ernest Archer, Harry Lange, and Anthony Masters). 

Kubrick, one of the greatest filmmakers in cinema history, worked with precision and explored the potential of each cinematic element, producing remarkable works. His films are often studied through their memorable characters or distinctive cinematography (Rasmussen, 2001; Abrams, 2009), but this study proposes a different approach: to focus instead on the spaces that surround these intriguing individuals. The walls behind the characters, often seen as mere backgrounds, contribute to shaping the filmic universe and reveal details that reflect and amplify the characters’ world.

This audiovisual essay presents shots from Kubrick’s films in a dynamic sequence, aiming to engage the viewer in a sequence of images organized by themes. Aspects such as colors, textures, patterns, and the presence or absence of objects were worked on by the artistic departments of the productions in order to build the atmosphere of the scenes. Therefore, the essay aims to draw the audience’s attention to the walls of film spaces and raise questions such as: what does a wall represent? What messages are contained in a wall? What sensations and emotions can a wall provoke in those who observe it?

References

Abrams, J. J. (Ed.). (2009). The philosophy of Stanley Kubrick. University Press of Kentucky.

Barnwell, J. (2018). Diseño de producción para pantalla: Storytelling visual en el cine y la televisión. Parramón. 

Heisner, B. (2004). Production design in the contemporary American film. McFarland & Company.

Metz, C. (1980). O significante imaginário: Psicanálise e cinema. Livros Horizonte LDA.

Rasmussen, R. L. (2001). Stanley Kubrick: Seven films analyzed. McFarland.

Rosenfeld, A. (2010). O teatro épico. Perspectiva.

Tashiro, C. S. (1998). Pretty pictures: Production design and the history film. University of Texas Press.

Xavier, I. (2003). O olhar e a cena: Melodrama, Hollywood, Cinema Novo, Nelson Rodrigues. Cosac & Naify.

Filmography

Kubrick, S. (Director). (1968). 2001: A space odyssey [Film]. Metro-Goldwyn-Mayer.

Kubrick, S. (Director). (1971). A clockwork orange [Film]. Warner Bros.

Kubrick, S. (Director). (1975). Barry Lyndon [Film]. Warner Bros.

Kubrick, S. (Director). (1980). The shining [Film]. Warner Bros.

Kubrick, S. (Director). (1987). Full metal jacket [Film]. Warner Bros.

Kubrick, S. (Director). (1999). Eyes wide shut [Film]. Warner Bros.