A film is - or should be - more like music than like fiction.
It should be a progression of moods and feelings.
The theme, what's behind the emotion, the meaning, all that comes later.
― Stanley Kubrick
Unlike Wes Adnreson and David Lynch, Stanley Kubrick was less inclined to work with others, and more driven to create the Gesamtkunstwerk on his own. While many Directors lack a background in advanced musical knowledge, some are compelled to influence the sound design to complete their vision. Kubrick - one such filmmaker - often worked with collage elements of pre recorded material in order to control this specific dimension of his films (e.g.: The Shining), as he was not a composer himself.
A lot of the signature style of a Kubrick film comes from the editing process, in which music and sound design generally plays a crucial role. In fact, pacing is one of Kubrick’s most peculiar cinematographic elements, and in this Olio, we’ll pay close attention to how music influences the perception of time in two of his most well-known works: The Shinning and 2001: A Space Odyssey.
Teacher: Whitney George
George holds an undergraduate degree from the California Institute of the Arts, a masters degree from Brooklyn College Conservatory, and is currently continuing her studies as a PhD candidate at the CUNY Grad Center. In addition to her composing and conducting, George teaches at Brooklyn College, works at the Hitchcock Institute of American Studies and is the Managing Director for New York's AME.
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May 25, 20217 p.m.
May 25, 2021
Think Olio | Stanley Kubrick and The Time Capsule
Pacing is one of Kubrick’s most peculiar cinematographic elements, and in this Olio, we’ll pay close attention to how music influences the perception of time in two of his most well-known works: The Shinning and 2001: A Space Odyssey.