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.
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