Encounter 4 - The cinema beyond cinema

From the never realised project on Napoleon to A Clockwork Orange (1971), Kubrick pushes the absolute ambiguity of images: the initial sense is turned upside down, also thanks to the manipulation of time. The expressive use of the zoom lens is the key to this style, as seen in Barry Lyndon (1975), a total film, which through the symbolic complexity of its framing and editing exhibits links with literature, theatre, painting, music, and in which meaning is emptied in favour of the visible.