Man/Machine Interaction in the Work of Stanley Kubrick
GRIN Verlag, 2007 - 76 pages
Thesis (M.A.) from the year 2006 in the subject Film Science, grade: 1,3, University of Cologne (Englisches Seminar), 42 entries in the bibliography, language: English, abstract: In this paper, I want to examine Kubrick's work for the notion of man interacting with machines and relate it to various theoretical models that also deal with the relation of man and machine. I chose the term 'machine' as a generic term for any theory applying technological, mechanical or machinic ideas, most of which using the machine as a metaphor for sociological, philosophical or psychoanalytic approaches. At the same time, I want to illustrate on the basis of Kubrick's work how the theoretical discourse on this topic has changed in the course of time. Being initially cut down to a very literal understanding of machines as actual physical devices, the 20th century discourse about technology has shown that the demarcation line between what is nature and what is technology is not as easily drawn as it might appear. Man is inseparably bound up with his tools and culture as a whole could be regarded as some kind of machinery. Thus, a great part of both this paper and Kubrick's work deals with the notion of a cultural machine. Another part, however, will leave the narrow view of the machine as a strictly cultural metaphor. Recent philosophical currents like the work of Deleuze, Maturana and the academic gender discourse try to evolve a new coining of the term 'machinic' that goes beyond rigid dualistic notions. I will try to show that these ideas can be found in Kubrick's films as well.
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18th century Alex Animal Mother Anti-Oedipus apparatus argue astronauts Barry Lyndon becoming Bill body without organs boot camp Bowman brain chaos chaotic elements characters Ciment Cinema Clockwork Orange computer HAL concept connected create cultural Deleuze Deleuze and Guattari Deleuzian desire dialogue discipline drive dualism emotions Enlightenment erotic Eyes Wide Shut fantasy film shows film’s flow Floyd Foucault Freud Full Metal Jacket function gaze Geduld Hartman human idea inside intensities interaction Joker Jupiter Katherine Hayles killer kind Kubrick shows Kubrick’s films Lacan Lacanian LaMettrie language Lusthog Squad machinic phylum maggot Marine Corps masks mechanisms membrane metaphors milestone mission narrative level nature notion object orgy passion psychoanalysis Redmond Barry rifle Ripper scene schizoanalysis seems sexual shaman simians sniper social society space station spaceships Stanley Kubrick Strangelove structure symbolic talk Thousand Plateaus Vietnam viewer visual whole
Page 17 - On the whole, therefore, one can speak of the formation of a disciplinary society in this movement that stretches from the enclosed disciplines, a sort of social 'quarantine', to an indefinitely generalizable mechanism of 'panopticism'. Not because the disciplinary modality of power has replaced all the others; but because it has infiltrated the others, sometimes undermining them, but serving as an intermediary between them, linking them together, extending them and above all making it possible to...
Page 62 - Oedipus): a schizophrenic experience of intensive quantities in their pure state, to a point that is almost unbearable — a celibate misery and glory experienced to the fullest, like a cry suspended between life and death, an intense feeling of transition, states of pure naked intensity stripped of all shape and form.
Page 58 - But such a man produces himself as a free man, irresponsible, solitary, and joyous, finally able to say and do something simple in his own name, without asking permission; a desire lacking nothing, a flux that overcomes barriers and codes, a name that no longer designates any ego whatever.
Page 56 - Desire constantly couples continuous flows and partial objects that are by nature fragmentary and fragmented. Desire causes the current to flow, itself flows in turn, and breaks the flows.
Page 19 - Wenn im mathematischen Verfahren das Unbekannte zum Unbekannten einer Gleichung wird, ist es damit zum Altbekannten gestempelt, ehe noch ein Wert eingesetzt ist. Natur ist, vor und nach der Quantentheorie, das mathematisch zu Erfassende; selbst was nicht eingeht, Unauflöslichkeit und Irrationalität, wird von mathematischen Theoremen umstellt.
Page 60 - The identity of world and brain, the automaton, does not form a whole, but rather a limit, a membrane which puts an outside and an inside in contact, makes them present to each other, confronts them or makes them clash.
Page 60 - If we look at Kubrick's work, we see the degree to which it is the brain which is mis en scene. Attitudes of body achieve a maximum level of violence, but they depend on the brain. For, in Kubrick, the world itself is a brain, there is identity of brain and world, as in the great circular and luminous table in Doctor Strangelove, the giant computer in 2001 A Space Odyssey, the Overlook hotel in The Shining.
Page 15 - It could be argued that these activities are in some way the "content" of the electric light, since they could not exist without the electric light. This fact merely underlines the point that "the medium is the message" because it is the medium that shapes and controls the scale and form of human association and action.