11 April 2008 - 12:02kubrickbrain
from an essay by jonathan rosenbaum on “eyes wide shut”:
“As Gilles Deleuze noted in Cinema 2: The Time-Image, “In Kubrick, the world itself is a brain, there is an identity of brain and world”; Deleuze singles out such central images as the war room in Dr. Strangelove, the computer housing HAL’s circuits in 2001: A Space Odyssey, and the Overlook Hotel in The Shining as examples of what he meant, to which I might add the racetrack in The Killing and the training camp in Full Metal Jacket…And in each film the brain, the world, and the system connecting the two start to break down from internal and external causes, resulting in some form of dissolution (The Killing), annihilation (of the world in Dr. Strangelove and HAL’s brain in 2001), mutilation (of the brain in A Clockwork Orange and the body in Barry Lyndon), or madness (The Shining and Full Metal Jacket, which also chart respectively the dissolution of a family and a fighting unit).
“Building on Deleuze’s insight, critic Bill Krohn has proposed, in the only plausible account I’ve read of the structure of Full Metal Jacket, that “the little world of the training camp…is portrayed as a brain made up of human cells thinking and feeling as one, until its functioning is wrecked first from within, when a single cell, Pyle, begins ruthlessly carrying out the directives of the death instinct that programs the organ as a whole, and then from without by the Tet Offensive, the external representation of the same force.” As a result, in the second part of the film “the narrative itself begins to malfunction” along with the group mind, exploding “the conventional notion of character” and drifting off in several different directions.”
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