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Kubrick je filmski auteur, ki je s svojim vizionarskim pogledom na filmsko ustvarjanje redefiniral vsak žanr, ki se ga je lotil. Skozi svojstven filmski jezikovni sistem je v filmu Barry Lyndon ustvaril sodobno tragično figuro – Redmonda Barryja. Magistrsko delo ta sodobni tragični lik analizira in v reprezentaciji tragične neskončnosti njegovega bivanja uveljavi tudi sublimno doživetje. Pojma v prvem delu poveže preko vzpostavitve avtorja filma, Kubricka, kot auteurja, ki s filmskimi izraznimi sredstvi znotraj tragičnega doseže učinek sublimnega. V drugem delu se posvetim filmu kot jezikovnemu sistemu, ki preko gradnje odnosov med posameznimi kadri ustvarja komunikacijo z občinstvom. Tretji del se osredotoči na teorijo tragičnosti in film predstavi kot njen novi medij. V četrtem delu se osredotočim na sublimno, ki je lastno tragičnemu občutku. Zadnje poglavje pa skuša obravnavane teorije aplicirati na film Barry Lyndon in pokazati, da je Kubricku z uporabo izraznih filmskih sredstev uspelo dokazati, da je tragično občutje še vedno mogoče. Kubrick is a cinematic auteur whose revolutionary vision of filmmaking redefined every genre he tackled. In Barry Lyndon, he created a modern tragic figure of Redmond Barry through a unique cinematic language system. The master thesis analyses this contemporary tragic figure and introduces a sublime experience in the representation of the tragic infinity of his existence. In the first part, it links the two concepts by establishing the filmmaker, Kubrick, as an auteur who, through the means of cinematic expression, achieves the effect of the sublime within the tragic. In the second part, I focus on film as a linguistic system that creates communication with the audience through the construction of relationships between individual frames. The third part introduces the theory of tragedy and establishes film as its new medium. In the fourth part, I focus on the sublime inherent in the tragic feeling. The last section attempts to apply the discussed theories to analyse Barry Lyndon and to show that Kubrick, by using the expressive means of film, succeeded in proving that the tragic is still possible. |
