All that is solid melts into air. About The killing (Stanley Kubrick, 1956)
DOI:
https://doi.org/10.24310/Fotocinema.2019.v2i19.6654Keywords:
Stanley Kubrick, The Killing, Film analysis, Spatiotemporal representation, Postwar society.Abstract
The present article intends to analyze The Killing (Stanley Kubrick 1956). It establishes a relationship between the narrative configuration of the story and the formation of meanings about the film’s historical and political context. The approach to the film’s formal organization focuses on the study of the modes of representation and construction of time and space, while the historical context is analyzed taking into account the presence of the film noir (crime thriller) in postwar American society. Thus, the analysis of the film’s formal organization is presented as a starting point for the problematization of a certain socio-historical situation. This approach does not imply understanding the cinema as an instance that illustrates a historical moment. Rather, it seeks to analyze it through its links with the social context it is part of and it contributes to shape.
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