mpanied by various versions of “When Johnny Comes Marching Home,” employ different editing patterns than the rest of the film. These edits reinforce the film’s theme of inevitability. Through editing, the B-52 sequences display a strong cinematic rhythm. The shots are generally shorter than the other sections of the film, and they significantly contribute to the film’s shorter average-shot-length, despite Kubrick’s deliberate use of long takes (Falsetto, 44).Stanley Kubrick’s next film was the science fiction masterpiece 2001: A Space Odyssey. 2001 represents Kubrick’s most ambitious presentation of cinematic subjectivity, most prominently in the Star-Gate sequence and in the final episode of Dave Bowman in an isolation room. These sequences are a result of a film, which for most of its run time does not presented the subjective vision of any one character. In stylistic and visual terms, there is a movement from the three-dimensional style of the film’s first half to the flatter, more abstract visual style of the Star-Gate sequence. The film’s movement towards abstraction can be understood both in visual and narrative terms (Falsetto, 115).2001’s presentation of details from the “Dawn of Man” sequence, to later space travel scenes are shot with complete conviction and impeccable detail. The viewer believes that the world might have actually looked like what Kubrick presented it as, several million years ago, and the depiction of space travel is just as convincing. The use of models, front projection, the slow editing techniques and camera work all help to create a more complete illusion (Falsetto, 141).If 2001 was presented almost completely objectively, than Kubrick’s next film, A Clockwork Orange (1972) was presented almost completely subjectively. This may have been in part due to the constraints of the original novel by William Burgess, but nonet...
