The first thing I noticed about Kogonada’s “Kubrick// One-Point Perspective” was the sound. It is very dramatic and suspenseful. It makes you feel like you’re being chased. The music is a familiar score and it enhances the already dramatic tone of Kubrick’s famous movies.
The cuts are very fast in the beginning and of the same subject matter – a supercut – to convey the overall idea that Kubrick uses an insane amount of one-point perspective shots in his movies. Due to the sheer number of instances presented here in the 1 minute 44 second video essay, this point comes across even stronger. Kogonada’s point is conveyed all through visual elements and stylistic choices instead of voiceover or dialogue.
The cuts of graphic scenes in the movies are timed well with the music’s pace, some scenes flashing for less than a second and others wavering for more time depending on the music. This creates a sense of visual balance and establishes a connection/ a through-line between the visuals – which come from all different Kubrick films – and the audio, which is not a part of a Kubrick film at all.
In most of the shots, there are characters who are in the middle of a movement. Kogonada puts specific shots together that express a common movement between them, such as standing still, walking, or running. He matches the pace of the song with the pace of the characters, getting more frantic as the song gets more frantic. This added to my awe of the piece. It works so well! This serious yet dramatic tone made me sit up and pay attention to each frame. I noticed that the characters in the shots on the whole begin to move more and more throughout the video, creating a buildup to the end of the essay. Then Kogonada quickly juxtaposes scenes on Earth with scenes that place the one point perspective between colorful walls in space one after the other (I’m not sure which movie that’s from, 2001: A Space Odyssey?) and even overlays the images with scenes from space at the climax of the video.
This video shows you that Kubrick’s films are not only filled with one-point perspective shots, but also that the subject matter is intense, driven by movement and style. The videographic form can bend to fit both visuals and audio, even connecting the two with editing. For me, that trick Kogonada uses here of matching music to the editing made this video essay really fantastic.