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
1 INTRODUCTION
2 HOW DOES FILM COMMUNICATE WITH THE AUDIENCE?
2.1 The problem of defining a sender
2.2 Means of communication
2.2.1 Metalanguage in film
2.2.2 Symbolic meaning in film
2.3 Characterization
2.4 How is characterisation realised in “Eyes Wide Shut”?
3 HOW DO CHARACTERS COMMUNICATE WITH EACH OTHER?
3.1 Verbal communication
3.2 Communicational disorders
3.3 Sexuality as a form of communication
3.4 Body Language
4 HOW DOES THE UNCONSCIOUS MAKE ITSELF UNDERSTOOD?
4.1 Alice’s realistic dream
4.2 Bill’s dreamlike reality
4.3 Confronting the unconscious
5 CONCLUSION
Objectives and Topics
This paper examines the multifaceted nature of communication within Stanley Kubrick's film "Eyes Wide Shut," exploring how filmic articulation functions on levels ranging from audience perception to character dynamics and the manifestation of the unconscious.
- Theoretical analysis of filmic versus literary communication models
- Methods of characterization through symbolic and technical cinematic codes
- Interpersonal communication dynamics, focusing on verbal, non-verbal, and sexual exchanges
- Psychoanalytical interpretation of the unconscious as presented in the narrative
Excerpt from the Book
2.4 How is characterisation realised in “Eyes Wide Shut”?
The minutes ’19 - ‘20 of “Eyes Wide Shut” show a typical day in the Harfords’ life. Bill is working as a doctor while Alice stays home, does the house work and looks after Helena. The music in this scene is slow, smooth, even and regular. This makes the action appear unexiting and routined. Bill’s practice seems very clean and well organized. White and blue are the dominating colours, which make his working place seem sterile and anonymous. He is wearing a white doctor’s robe which gives him an impersonal and distanced appearance. Obviously Bill is the one earning money for the family and he seems to be very conscious of his duty. He is well respected by staff and patients. He treats his patients and staff respectfully but distanced. Alice on the other hand is surrounded by a rather chaotic atmosphere and multiple colours among which red is dominating, giving the flat a warm and emotional note. She is presented to the viewer wearing a bath robe, casual clothes or even being naked. In contrast to Bill’s practice this appears to be a pretty familiar and intimate atmosphere. Alice seems to handle things in a rather casual way. She is physically and emotionally closer to Helena than Bill is.
The end of the scene can be interpreted symbolically: Both parents are sitting at their daughter’s bed but Alice is still closer to her than Bill. After they have been apart for the day they come together as parts of a family. This foreshadows the further course of the plot: After being separated by individual experiences and personal differences Bill and Alice are reunited as a couple at the end of the movie.
Summary of Chapters
1 INTRODUCTION: Introduces the role of communication in film and outlines the methodological approach to analyzing Stanley Kubrick's "Eyes Wide Shut."
2 HOW DOES FILM COMMUNICATE WITH THE AUDIENCE?: Investigates the theoretical challenges of defining a sender in film and explores how technical and symbolic codes construct narrative meaning.
3 HOW DO CHARACTERS COMMUNICATE WITH EACH OTHER?: Analyzes interpersonal dynamics through verbal, non-verbal, and sexual communication, highlighting the dysfunctionality in the Harfords' marriage.
4 HOW DOES THE UNCONSCIOUS MAKE ITSELF UNDERSTOOD?: Applies Freudian psychoanalytical theories to interpret how suppressed desires and dreams function as messages in the film.
5 CONCLUSION: Synthesizes the findings, affirming that understanding the multiple levels of filmic communication enhances the viewer's experience and comprehension of the medium.
Keywords
Communication, Film Theory, Stanley Kubrick, Eyes Wide Shut, Narrection, Symbolic Codes, Psychoanalysis, Unconscious, Characterization, Marriage, Dreams, Non-verbal Communication, Signifier.
Frequently Asked Questions
What is the core focus of this academic paper?
The paper explores the role of communication in cinema, specifically utilizing Stanley Kubrick's "Eyes Wide Shut" as a case study to demonstrate how film communicates meaning to the audience, between characters, and from the unconscious mind.
What are the primary thematic areas covered?
The key themes include filmic narration, the function of technical and symbolic codes, the psychological aspects of communication, and the interpretation of subconscious desires.
What is the primary objective of the work?
The goal is to demonstrate that filmic communication operates on several complex levels and to show how a deeper understanding of these layers improves the viewer's perception of cinematic art.
Which scientific methodology is employed?
The author uses a multidisciplinary approach combining semiotics and psychoanalytical theory, referencing scholars like Metz, Bordwell, Lothe, and Freud to decode the film's narrative strategies.
What does the main part of the essay address?
The main section moves from the macro-level of film-to-audience communication to the micro-level of interpersonal dialogue and body language, before delving into the profound psychological communication of the unconscious.
Which keywords best characterize this study?
The study is best characterized by terms such as film theory, semiotics, psychoanalysis, narrative structure, and symbolic imagery.
How does the author interpret the color schemes in the film?
The author suggests that colors are used symbolically; for instance, the clinical white and blue in Bill's environment represent sterility and distance, while warmer, red-toned colors in the home suggest emotional engagement.
What role does the "talking cure" play in the film's resolution?
The author argues that the climax relies on a psychoanalytical "talking cure," where Bill and Alice finally engage in honest verbal communication, allowing suppressed fears to enter the conscious and reconciling their relationship.
- Citation du texte
- Benjamin Althaus (Auteur), 2004, Communication in Stanley Kubrick's "Eyes Wide Shut", Munich, GRIN Verlag, https://www.grin.com/document/31663
