An Analysis of the Opening Sequence of Stanley Kubrick's ‘Eyes Wide Shut’ Focusing on the Use of Generic Conventions
An analysis of the opening sequence of Stanley Kubrick’s ‘Eyes Wide Shut’ focusing on the use of generic conventions
We frequently consider films in terms of their genre, a French word meaning ‘kind’ or ‘sort’. It is a very complex term, not only used in film but also in other creative areas such as music, art, and literature. However, it is often considered through various conventions including iconography, similar themes and their stylistic features, as Bordwell and Thompson (2006:357) suggest, ‘ style…is the formal system of the film that organizes techniques’ such as lighting, props and setting. This repetition of common elements across a series of films allows us as the viewer to identify genre. For example, if a film was to present a dessert, horses and guns it would distinguish a western genre, whereas in a thriller, low key lighting would be used to create shadows, and props such as mirrors would signify this opposing genre. On the other hand, genres can have similarities and differences, which enables us to be kept entertained even though watching the same genre. This is because a cross-genre or hybrid is used in many contemporary films, which allows filmmakers to link other genres into the narrative such as a film noir or spaghetti western.
As Grant (2007:2) suggests, ‘Tom Ryall has distinguished three levels at which we should understand genre in the cinema: the generic system, individual genres and individual films.’
Stanley Kubrick is a renowned auteur often adapting his films from literary works and contrives complex sets to articulate his ideas and interpretations.
By studying genre in the opening scene of Stanley Kubrick’s, Eye’s Wide Shut (1999) it can somewhat be seen as challenging. By assessing a number of generic conventions, which Kubrick expresses in the opening scene and how he conveys them could be argued to a certain extent that he does not typically characterize a Drama/Mystery/Thriller in which the film falls under.
The opening
We frequently consider films in terms of their genre, a French word meaning ‘kind’ or ‘sort’. It is a very complex term, not only used in film but also in other creative areas such as music, art, and literature. However, it is often considered through various conventions including iconography, similar themes and their stylistic features, as Bordwell and Thompson (2006:357) suggest, ‘ style…is the formal system of the film that organizes techniques’ such as lighting, props and setting. This repetition of common elements across a series of films allows us as the viewer to identify genre. For example, if a film was to present a dessert, horses and guns it would distinguish a western genre, whereas in a thriller, low key lighting would be used to create shadows, and props such as mirrors would signify this opposing genre. On the other hand, genres can have similarities and differences, which enables us to be kept entertained even though watching the same genre. This is because a cross-genre or hybrid is used in many contemporary films, which allows filmmakers to link other genres into the narrative such as a film noir or spaghetti western.
As Grant (2007:2) suggests, ‘Tom Ryall has distinguished three levels at which we should understand genre in the cinema: the generic system, individual genres and individual films.’
Stanley Kubrick is a renowned auteur often adapting his films from literary works and contrives complex sets to articulate his ideas and interpretations.
By studying genre in the opening scene of Stanley Kubrick’s, Eye’s Wide Shut (1999) it can somewhat be seen as challenging. By assessing a number of generic conventions, which Kubrick expresses in the opening scene and how he conveys them could be argued to a certain extent that he does not typically characterize a Drama/Mystery/Thriller in which the film falls under.
The opening
Bibliography: Bordwell, D. Thompson, K (1997) Film Art: an Introduction. USA: Harvard University Press Chaudhuri, S (2006) Feminist Film Theorists Ciment, M. Adair, G. and Bononno, R. (2001) Kubrick: The Definitive Edition. Canada: Douglas and McIntyre Eye’s Wide Shut, 1999 Grant, K.B (2007) Film Genre: from Iconography to ideology. London: Wallflower Press Hall, S (2003) Kubrick, Stanley (1928-1999) (http://www.screenonline.org.uk/people/id/459560/) [accessed on 17th October 2010] Mulvey, L (2006) Feminist Film Theory, Sue Thornham (ed.) Edinburgh: Edinburgh University Press Williams, L.R, (2005) The Erotic Thriller in Contemporary Cinema. Indiana: Indiana University Press