Film has for a long time been neglected as an art: Sophisticated analysis has mainly been dealing with written literature as ‘the real thing’. In recent years the making of films has become more and more accepted as an art. Films are analysed and dealt with at universities and have become an essential part of school curricula. Nowadays cinematic theory is treated equally to written literature and “as a fully matured art, film is no longer a separate enterprise but an integrated pattern in the warp and woof of our culture” . In order to develop an ability to understand this art one has to learn to read its codes and interpret their meaning.
The following paper will deal with the role of communication in film and examine different levels on which filmic articulation takes place. Communication is an indispensable element for films, not only do characters communicate on the level of the plot but also the process of creating, showing and perceiving a film can be regarded as communication. It is this communication that allows the course of an action to be told and understood in the first place. A film is information, it is a message that is transmitted to a recipient, i.e. the audience. There are, however, problems to define who the sender of this message is. In Chapter 2 of this essay I will try to find a solution to this problem. Chapter 3 will put a focus on communication between the characters in this movie including some ways of non-verbal communication. Chapter 4 deals with a special way of communication which is a central point in Kubrick’s film: I will show how the unconscious can send messages to the conscious and how these messages can be interpreted.
A lot of parallels can be drawn between film and written literature. There are, however, some vital differences between the two genres. I will therefore make general comparisons between the language of books and that of cinema where it appears important and promotes understanding. I will apply examples from the movie “Eyes Wide Shut” (1999) by Stanley Kubrick to illustrate the theoretical approaches of my work. The main points of this paper are summarised in a conclusion in Chapter 5.
Table of Contents
- INTRODUCTION.
- HOW DOES FILM COMMUNICATE WITH THE AUDIENCE?
- The problem of defining a sender.
- Means of communication
- Metalanguage in film.…….…………….
- Symbolic meaning in film
- Characterization..
- How is characterisation realised in “Eyes Wide Shut”?
- HOW DO CHARACTERS COMMUNICATE WITH EACH OTHER?
- Verbal communication........
- Communicational disorders..
- Sexuality as a form of communication
- Body Language..
- HOW DOES THE UNCONSCIOUS MAKE ITSELF UNDERSTOOD?
- Alice's realistic dream.
- Bill's dreamlike reality
- Confronting the unconscious ..
- CONCLUSION
Objectives and Key Themes
This paper examines the role of communication in Stanley Kubrick’s film “Eyes Wide Shut”. The paper aims to explore the different levels of communication present in the film, examining the relationship between the film and its audience, the communication between characters, and the representation of the unconscious. This exploration will employ theoretical approaches and examples from the film.
- The communication between film and audience
- The representation of communication between characters, including verbal and nonverbal communication
- The role of the unconscious in communication
- The unique visual and narrative qualities of film
- Drawing parallels between film and written literature
Chapter Summaries
Chapter 2 focuses on the communication between film and audience, exploring how the film communicates its message. It analyzes the difficulty in defining a sender in film and explores the unique means of filmic communication, such as symbolic and technical codes. The chapter also examines how meaning is transmitted to the viewer and how cinematic codes are interpreted through an analysis of a bedroom-scene from the film.
Chapter 3 shifts the focus to communication between characters, analyzing verbal and non-verbal communication. It discusses various communication disorders and explores the theme of sexuality as a form of communication in the film. This chapter explores body language and its significance in conveying meaning.
Chapter 4 delves into the unique communication of the unconscious, exploring how the unconscious can send messages to the conscious in the film. It examines the distinction between Alice's realistic dream and Bill's dreamlike reality, highlighting the way both characters confront the unconscious.
Keywords
The primary focus of this paper is communication in film, with a particular emphasis on Stanley Kubrick’s "Eyes Wide Shut". Key themes and concepts include film theory, communication analysis, characterization, nonverbal communication, the unconscious, and the relationship between film and audience. The paper explores various theoretical approaches and methods for understanding communication in film, drawing parallels between film and written literature.
Frequently Asked Questions
How is communication defined in the context of Stanley Kubrick's "Eyes Wide Shut"?
In this analysis, communication is viewed as an indispensable element that occurs on multiple levels: between characters in the plot, and through the process of creating, showing, and perceiving the film as a message transmitted to the audience.
What is the role of the unconscious in the film's communication?
The paper explores how the unconscious sends messages to the conscious mind. It specifically examines the contrast between Alice’s realistic dreams and Bill’s dreamlike reality as a form of internal communication.
Does the film use non-verbal communication between characters?
Yes, the study analyzes body language and sexuality as significant forms of non-verbal communication that convey meaning where verbal dialogue may fail or be disordered.
How does the film communicate with its audience?
The film communicates through symbolic and technical codes, acting as information transmitted to the recipient. The paper analyzes how cinematic codes are interpreted by viewers, using specific scenes like the bedroom sequence.
What are the main differences between filmic and literary communication mentioned?
While drawing parallels between the two, the paper highlights vital differences in language and genre, explaining how cinema uses unique visual and narrative qualities to articulate its message compared to written literature.
What specific "communicational disorders" are discussed?
Chapter 3 focuses on disorders in verbal communication between characters, examining how these barriers affect their relationships and the overall narrative progression.
- Quote paper
- Benjamin Althaus (Author), 2004, Communication in Stanley Kubrick's "Eyes Wide Shut", Munich, GRIN Verlag, https://www.grin.com/document/31663
