KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

Addressing the cultural value of individualism in the movies

Dr. Strangelove by Stanley Kubrick
and One Flew Over the Cuckoo’s Nest by Miloš Forman

Commencing with the justification of the titles choice, the author found the two

aforementioned films the most appealing to the proposed topic to be analyzed. The fact of

writing the essay concerning film analysis only proves the interdisciplinary nature of language

studies and supports the complex overview of the studied topic. The paper will not only

consider the synopsis of the selected titles, but take into consideration also the cultural and

political position of America at the time of the movies production, from which the key

motives directly emerged. Detecting the element of identity in the two movies opens the

question of broader scientific engagement in regard to cultural studies, but due to space

restriction cannot be fully developed. The challenge of this paper resides in the comparative

analysis of the two movies where the aspect of individualism is in the spotlight of the author.

Such instruction would be totally sufficient if concerning only one movie title, as the

methodology in audiovisual studies differ from the mere text analysis. To name just a few

elements that make movie analysis more complex and technically demanding than the text

analysis, there is editing, acting, architecture, use of camera or shooting pace. Following the

multidisciplinary character of a movie, similarly to literature or language studies, analysis of

the form is equally important as the content analysis, if not even more crucial. While

contemplating about the moral dilemmas that are in the scope of the content, form is the one

and truly objective matter to be studied without any moralizing tendency. Nevertheless,

objectivity is quite disputable when it comes to artistic representation reasoning. According to

the acclaimed movie theorist and critic Martin Ciel, a single movie contributes to infinite

number of interpretations. It is not essentially a visual perception of a motion picture itself

that a spectator decodes, but the individual empiric experience of every single viewer and
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

their own unique associations that complement the audience response. As a result, every

viewer sees a different movie (Ciel, 2006). In order to keep the objective optics, the author

personally consulted methodological strategies common for a movie analysis when it comes

to the form rather than content. The interpretation of the scenes and their meaning would be

the subject to author’s own close reading and therefore could be subjectively perceived.

Martin Ciel suggests that subjectivity in a movie criticism is perfectly on point, as the

analyzed aggregate consists of the two – the technical representation and personal

interpretation. As a matter of fact, there could be the agreement between the two critics in

terms of formal deconstruction of a motion picture (camera angle, acting method,

postproduction, etc.). However Ciel emphasizes, that a personal interpretation of the movie

motifs can change over time and bring the generational distance from certain historical

happenings that serve as the movie motifs at the same time. Consequently, this is what makes

cinematography an unbounded dialectical system (Ibid, p. 138).

In addition to the movies selection, apart from the suitable content regarding the

presence of individualism as a cultural value, these movies share certain similarities that make

them more or less equal in the comparative process. Firstly, both movies are based on the

novel and produced fully (Forman) and partly, with British credits (Kubrick) in the USA. Dr.

Strangelove or: How I Learned to Stop Worrying and Love the Bomb is a flick from 1964 and

based on the 1958 novel Red Alert by Peter George. One Flew Over the Cuckoo’s Nest

released in 1975 is an adaptation of the Ken Kesey’s novel of the same name from 1962. Both

movies gained global recognition and were nominees and winners of the most prestigious film

awards, however only Forman’s piece leads in Academy Awards credits by winning “ a Big

Five” at the 48th Oscar ceremony (Česko-slovenská filmová databáze). Drawing attention to

the cultural value of individualism, in 1965 Kubrick’s piece won a special United Nations

Award for the Best Film Embodying One or More Principles of the UN Charter (Case, 2014
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

p. 117) whereas Forman’s work was selected by the United States Library of Congress for

National Film Registry preservation since 1993 (The Internet Movie Database). According to

the best known review portal Rotten Tomatoes, scores for the Kubrick climbs up to 99 %,

while Forman is evaluated to 95 %. Another linking element of the two is obvious usage of

antagonistic humor, that draws attention to serious historical or cultural questions. Inseparable

motif emerging from the decade of 60’s is paranoia, which is nicely developed in Kubrick and

visible also in Forman. Similarities reach also to the level of main character, who is definitely

a round character oscillating between the villain and a hero status quo. This indefinite, yet

complex combination of personal traits operates on the dominant feature of “(in)voluntary

madness”, that is ascribed to both main characters, Dr. Strangelove (Peter Sellers) and Randal

“Mac” McMurphy (Jack Nicholson); but also to the supporting actors such as General Ripper

in Dr. Strangelove or the rest of the One Flew Over the Cuckoo’s Nest characters that are any

less interesting than the main protagonist himself. Both directors use the moment of surprise

in the suspenseful plot ambiance, which was the result of the new cinematographic technique

of the 60’s and 70’s called cinéma vérité– the direct cinema (Bordwel, et al., 2007 p. 505).

This launched an authentic and most importantly – objective camera angle in the movie

making. This method uses observation of spontaneity, a natural behavior that would resemble

reality as much as possible. This direct shooting style is very common in documentaries,

however in the selected movies is reached through the stage-managed tools such as asylum

group therapy in Forman or War Room assembly meeting in Kubrick.

As mentioned in the introduction, film is both, the product and the mirror of the given

culture. Despite the immense difference, literature and cinematography join multiple

disciplines, from which some are suitable for the surface analysis, while other deal with more

sensitive issues like morals and values. The reason for mentioning literature here is obvious,

since behind every movie stands a script or the novel as in this particular case. But by
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

mentioning the values by means of a movie or a book, it is important to define what a value is

and whether the value would be meaningful without a group. Value, even without ascribed

adjective cultural is directed by every dictionary towards the communal behavior. Oxford

Dictionary defines value as follows: “[MASS NOUN] The regard that something is held

to deserve; the importance, worth, or usefulness of something” (Oxford Dictionaries, 2016).

In contrast, Sociology Guide defines value in scope of sociology a little bit differently and

states that “the term value has a meaning in sociology that is both similar to and yet distinct

from the meaning assigned to it in everyday speech. In sociological usage, values are group

conceptions of the relative desirability of things” (Sociology Guide). Finally, the Business

Dictionary sums up that “cultural value is the commonly held standards of what is acceptable

or unacceptable, important or unimportant, right or wrong, workable or unworkable, etc., in a

community or society” (businessdictionary.com). The notion of individualism present in the

topic seems quite antagonistic, as it puts a personal driving force against the collective

thinking. Merriam-Webster defines individualism as “the belief that the needs of each person

are more important than the needs of the whole society or group” (Merriam-Webster).

Deconstruction of the term individualism could fall under the taxonomy of ontology or

sociology. The reason for author’s uncertainty to categorize this term comes from the

synthesis of both, culture and individualism and their mutual influence. Hardly can any

individuality be recognized if it was not for the set of communal rules from which the

individual need springs. But what it is that connects individualism with the cultural value,

when the former seems to defend the single person and the latter is a representation of the

group as big as a nation? The truth is, that the two are inseparable. It could even be said, that a

group consists of finite individuals, whose position differ according to the value overview.

The historical changes like new trends, philosophies, lifestyle opportunities, political and

climatic situation bring up different sample of society every few years. However, the tendency
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

to revolt as an individual could be seen in American society exactly at the time of the selected

movies release – the decades of 60’s and 70’s. But to propose a possible position of an

individual, recent opportunities in travelling, working and living feed the very core of

individual force in decision making. Many up to date sociological researches and observations

found out that millenials find themselves exceptional as a human beings and clearly distinct

from the flow of the crowd. On the other hand, travelling opportunities of these days create

the environment for becoming a global citizen and already enough of the existing population

do not feel any need to belong to a particular national or ethnic group. As a result, the status

of individuality shining brightly within otherwise ordinary communal lifestyle is becoming

more and more dissolved in the uniformity of mutual morals and shall come up with very

distinct set of values to be recognized and quite likely argued by the rest of society.

Force of individualism started to grow in postwar America and it was richly

accompanied by the philosophy of postmodernism, political polarization of the world, rise of

consumerism and last but not least, sexual freedom. As mentioned in the previous paragraph,

the phenomenon of individualism with regard to one’s originality quickly failed due to the

uniformity of consumer behavior, when basically everyone owned the same products of

everyday use since house equipment to cars and therefore ended up as a tiny particle in a mass

production (Connor, 1997 p. 29). In any case, America was truly challenged during the

postmodern era. At this time, weapons of mass destruction is already a well known term for

Americans from the previous WW2 experience. The Institute of Historical Review suggests

the question if the events of Hiroshima and Nagasaki were really necessary for ending the

World War II (Weber, 1970). In any case, this kind of military defense is another example of

what drastic steps humanity is capable of in terms of war negotiation. Along with Holocaust,

the fatal consequences of dropping the atomic bombs on Japan still signal the certain threat

from the side of superpowers and unconsciously plays a significant role in search for morals
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

as a recuperation. In few years turn, America found itself in opposition with the Eastern block

and so called Red Scare. The reason for mentioning these happenings is because they later

become a point of supply for postmodern American authors. In this historical context of

American existence, one of the strongest pillar of postmodern philosophy came in use and that

is critical thinking (Connor, 1997 p. 16). Sixties was the real time of a riot dealing with many

social and political tensions. Many Americans suddenly face the new moral challenges like

battling with the questions of race, gender and later even abortion, drugs, feminism, war

conflicts and terrorism (Ibid, pp. 251-284). The huge contribution to overall confusion and

rise of paranoia was the assassination of JFK that is hidden under the veil of mystery and

conspiracies until nowadays. However, many social issues like LGBT recognition (Illinois

first state to decriminalize private homosexual acts between consenting adults in 1960) (Pitas,

2014) and sexual revolution (birth control introduction to the US market in 1960) were

discussed in the very sensitive background of ongoing war conflicts (Vietnam war in 1955-

1975) and racial (breaking of the Jim Crow law) and gender struggling for their rights (Civil

Rights Act in 1964; Voting Rights Act in 1965) (Geyh, et al., 1997 pp. ix-xvi). At the

beginning of the 70’s, American government shifted to the right side of the political spectrum

which gave rise to minor leftist groups of activists, amongst whom were also the movie

directors with their documentary ambitions (Bordwel, et al., 2007 p. 530).

For better comprehension of individualism analysis in the selected movies, brief

introduction to the plot serves as a background for further close-reading of the detailed scenes.

Dr. Strangelove depicts the Cold War at its best by direct confrontation of USA against

USSR. The major conflict begins at the moment, when General Ripper, who is in charge of

US Air Force, commands to launch Plan R supposed to be used in the uttermost war threat. To

prevent withdrawal from this war plan, Ripper cuts all communication channels and sets

special 3 cipher prefix known only by himself to decode any message. Shortly after the
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

communication blockage, Ripper’s executive office Mandrake finds out no war declaration

had been made and tries to solve the situation to prevent the nuclear tragedy. Situation is

discussed in the Pentagon War Room, where President argues about the war order issue

without his permission and together with his officers, searches for possible turning point from

the nuclear catastrophe. He immediately calls for the Soviet Ambassador de Sadeski, with

whom they contact the Russian PM, Kissof. Unfortunately, he is always under the influence

and therefore not capable of solid discussion. As the bombers approach the Soviet missile

camps, de Sadeski confesses that Soviets also had a secret war plan - a “doomsday device”,

which consists of the buried bombs jacketed with highly radioactive content, that in case of

penetration paralyses entire globe for next 93 years. The joke of the doomsday device resides

in its inability to recoil from the activation. Once put into operation, no one can deactivate it.

This fact makes the superpowers to face completely new responsibility for the human

specimen survival. Suddenly, Dr. Strangelove, the wheelchair-bound scientist and a former

Nazi suggests, that such weapon would only be efficient, if the world knew about its

existence, by which he implies to the power game by means of politics of fear and paranoia.

In a meantime, General Ripper commits a suicide because of fear from torture. Mandrake

persistently searching for the three letter prefix to unlock the communication channel with the

bombers finally finds the fatal combination of OPE standing for Purity of Essence that was

Ripper’s eugenic obsessive life philosophy towards Soviets. Simultaneously, one crew of

bombers managed to open the bay doors manually, since the operation system broke down

and release the bombs called “Hello there!” and “Dear John” with Major Kong straddling one

of the bombs like a real Texas cowboy. Switching back to the War Room, the US President is

told that despite the synchronization of the US-Soviet withdrawal, one of the American planes

is still missing on the radar. Everyone in the War Room got the fact that the next century will

be devastating for the human race, to which Dr. Strangelove has a solution. He proposes that
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

sample of several thousand of Americans shall inhabit the mineshafts, where the radiation

cannot penetrate and set the breeding system with ten females to one male. Dr. Strangelove

hails, stands up from the wheelchair and walks several steps while shouting “Mein Fuhrer”.

Applying the concept of individualism as putting the needs of an individual before the

communal ones could metaphorically seize the position of America in the global policy

system as well as the perception of the USA by other nations. Startlingly to the new

millenium, the 1940’s Lindberg’s motto “America First”, which served as a source for Philip

Roth’s historiographic metafiction Plot Against America (2004) paradoxically occurs in the

2016 presidential campaign again, refreshed by the Republican candidate Donald Trump, who

addressed his foreign policy approach on April 27, 2016 in Washington D.C (Beckwith,

2016). It is a common association that America, historically speaking, is a promised land

where any dream can come true. The list of stereotypes can go on. Despite the reality is not

necessarily the same, concept of individuality as the call for uniqueness and personal freedom

is strongly attached to American spirit. In connection to the movie analysis, the author wants

to point out that individualism can also cover the nation itself, even though it is as

heterogeneous as America is. Obviously, the most significant trait from the beginning of the

movie is a battle of America against The Red Scare, which is the dominant conflict of the

flick. Characters that are of American origin often use vernacular language addressing Soviets

as Commies, Russkies or drunkards as a prevalent stereotyping in Cold War polarity. Political

motto “America First” implies to a political strategy of isolation, or if being more honest,

could even be taken as an alibi, or few decades later as a hypocrisy looking at the violent and

unnecessary military intervention. Similar justification is mocked in Kubrick’s movie in

several scenes, where General Turgidson justifies the invasion of Russia with bombers as

follows in the quotation (33:51), and secondly (54:03) where the big board amid the gunfight

says “843rd Bomb Wing Strategic Air Command – Peace Is Our Profession” :
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

Turgidson: Mr. President, we are rapidly approaching the moment of truth both for ourselves
as human beings and for the life of our nation. Now truth is not always a pleasant
thing. But it is necessary now to make a choice. To choose between two
admittedly regrettable but nevertheless distinguishable postwar environments.
One where 20 million people are killed. The other, 150 million people killed.

Undoubtedly, Dr. Strangelove intensively feeds the American individuality as a nation and

the author would like to discuss this particular occurrence. Taking into consideration the

humorous quality of the movie, scenes like clear Texas dialect of bomber Kong and his final

scene as a character depicted in the position of “bull rider” while straddling the bomb named

“Hello there!” could be interpreted as the spread of western essence as strong as a nuclear

radiation all over the globe. This clash of two strongest superpowers is also humorously

depicted in the scene where the survival kit of the American bombers is presented to their

potential users (35:39):

Major Kong: Survival kit contents check. In them, you will find 1,45-calibre automatic, two
boxes of ammunition, four days’ concentrated emergency rations, one drug
issue containing antibiotics, morphine, vitamin pills, pep pills, sleeping pills,
tranquilizer pills, one miniature combination Russian phrase book and Bible,
$100 in rubles, $100 in gold, nine pack of chewing gum, one issue of
prophylactics, three lipsticks, three pair of nylon stockings. Shoot, a fella
could have a pretty good weekend in Vegas with all that stuff.

What caught the author’s attention is the prevalence of armaments. Whether it was tactics or

not, Kubrick perfectly seized the American sympathy towards gun culture. This is also

grotesquely depicted in the scene, where the Colonel Bat Guano uses his assault rifle to get

the coins from the Coke drinks dispenser, where both associations – the gun culture and

consumerism are portrayed next to each other.

A very interesting point could be derived from the Ripper’s compulsive obsession

about American bodily fluids, that are systematically polluted by the impure outer influence,

with direct implication to the communistic Soviet Union in contrast to liberal America.

General Ripper, few minutes before his suicide confesses to Mandrake about his feelings
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

concerning the philosophy of bodily fluids (56:14), which indicates almost eugenic attitude to

race/ethnic/national supremacy and therefore is no less dangerous than a Nazi element present

in Dr. Strangelove, from which the US President keeps distance when addressing to

Turgidson his hatred towards becoming a second Hitler: “General Ripper: A foreign

substance is introduced into our precious bodily fluids without the knowledge of the

individual. That’s the way a hard-core Commie works.” As the viewer later learns, Ripper

comes up with this theory during the sexual act, where he ascribes this “loss of essence” to the

women. Based on this, another level of movie analysis could be brought to existence, and that

is the direct reference to the sexual revolution of 60’s in America, as well as the position of

women in American society. All of the mentioned belongs to the national identity of

Americans by means of sharing the same history, throughout which certain tendencies grew

into cultural values, while individualism scores dominantly. To conclude the concept of

bodily fluids with respect to humor, in terms of etymology, humor as originally Latin word

became the part of Roman language vocabulary, as Pirandello explains in his L’umorismo

(2006): The Latin umore refers to a material denotation of something of a fluid character like

moist or steam, as well as something vivid and fantasy-like, simply difficult to grasp.

Pirandello even suggests that humor cannot posses any material meaning, because since the

ancient times, body liquids (blood, choler, phlegm, melancholy) were considered a sign or a

source of an illness (p. 10).

To continue with the second movie, plot synopsis of the One Flew Over the Cuckoo’s

Nest could be compressed into the battle of an individual against society, which is a classical

feature of a hero, doesn’t matter if it is German literary romanticism or American postmodern

cinematography. Mac is a rebel in his late 30’s with a rich criminal record. He appears in the

mental institution thanks to the transfer from the farm, where he served ordered hard labor

sentence. Mac claims that the girl he raped pretended to be 18, however going on 35. Mac
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

assumes: “No man alive could resist that. That’s why I got into jail to begin with. Now they’re

telling me I’m crazy over here, because I don’t sit there like a goddamn vegetable” (12:20).

Anyhow, Mac is in no case a suitable patient for the mental institution, as he is perfectly fit

but lazy. He is not even dangerous, when justifying the five assaults in his criminal record:

“Rocky Marciano got 40 and he’s a millionaire” (11:30). However, he starts to use his wit to

revolt and fight for the individual recognition of other patients, who were constantly

suppressed by the nurse Ratched and her delicate, refined manipulation. Mac’s resistance to

Ratched ensures him a solid position of a benign leader amongst mentally-ill patients, out of

whom almost half are placed in the asylum voluntarily. When Mac finds this, the moment of

surprise is almost as inevitable as Dr. Strangelove’s walking in Kubrick. This “betrayal” of

one’s trust, whether it is a fictional character or a real spectator, undermines the feeling of

security and triggers paranoid thinking, which is so recurrent for the era of 60’s and therefore,

make the quest for individualism even more difficult. The sample of patients create a rich

mosaic, a melting-pot of the characters that could entail a representation of an American

society that is not only ethnically mingled. Billy is a young, stuttering man on whose life, his

mother has still a big manipulative impact. Cheswick is depicted as a superinfatile sensitive

while Martini is an absent-minded and innocuous one. Harding, being also called “Hard-on”

throughout entire movie, is an educated homosexual intellectual. Taber is short-tempered

aggressive element, Sefelt an epileptic. Apart from few nameless patient characters, the last

and important one is the Native American called Chief, who pretends to be deaf and mute in

the same way the Mac pretends his madness. The major communication problems in

characters like Chief and Billy Bebbit (whose name consisting of alliteration is a pure revenge

for a stuttering person) definitely draws attention to the identity issue which directly concerns

their individualism in the social hierarchy. Nice contrast between the call for individualism is

patients’ lethargy versus Mac’s, though emphatic, but still a super ego: “I’m a goddamn
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

marvel of modern science” (13:14). Personal rioting helped Mac to gain majority’s attention

when he outvoted Ratched in watching the World Series. The presence of sport is a strongly

visible cultural value to which protagonists of both movies appeal, even though it is taken as a

communal sign of self-identification as an individuality belonging to the certain group. The

need and goal of every individual, even the rioting one, is to grow the group to fight for the

same principles. Mac encourages the other patients to vote for World Series as an alternative

to Ratched’s strict schedule by saying: “Come on, be good Americans […] General, you

remember, don’t you? October, the banner, the stars ” (33:54 – 45:12). The attachment to

sport as an important American cultural value is also present in Dr. Strangelove, where quite

surprising reference is made during the Major Kong’s instruction via the transmitter: “Primary

target: the ICBM complex at Laputa. Target reference: Yankee-Golf-Tango, 360. Thirty-

megaton nuclear device fused for airburst at 10,000 feet” (18:45).

Nevertheless, individuality in both movies is also suggested through the depiction of

women. It is impossible not to notice, the gender distribution of the characters in the Cuckoo’s

Nest, where one of the three female characters was overly manipulative and iron-fisted such

as Nurse Ratched, who suppressed even the last remaining of masculine identity of her

patients, such as undermining the marriage of Harding in the group therapy or Billy’s first

sexual experience with Candy. The two other female characters were the two prostitutes, who

were not necessarily negative ones, but displayed as an easy sexual catch. However, the most

important thing in Cuckoo’s Nest considering womanhood in connection to masculine

identity, was Billy’s instant loss of stuttering when confronted by Ratched after being found

naked with the prostitute in one of the asylum’s rooms. Dr. Strangelove uses similar method

in the female characterization. The only mis-en-scene, where the woman occurs, is the

portrayal of Turgidson and his secretary in a secret love affair. Without sounding overly

feministic, there is a similarity between both movies in the image of a woman as a strong
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

sexual connotation, whose place within the plot is fulfilled as soon as recognized as a

reproductive necessity and pleasure opportunity. Despite this, Kubrick funnily operates on

gender equality by the following scene, where Turgidson answers the call from his secretary

while in the War Room. In the following citation, these few lines capture typical American

values such as family/marriage or religious belief (present even in the USA’s national motto

“In God we trust”):

Hello! I told you to never call me here. Don’t you know where I am? Look, baby I can’t talk to
you now. My president needs me. Of course Bucky would rather be there with you. Of course
it is not only physical. I deeply respect you as a human being. Someday I’m gonna make you
Mrs. Buck Turgidson. Oh, listen, you go back to sleep. Buck will be back as soon as he can.
Listen, sug, don’t forget to say your prayers (30:41).

To conclude the paper due to the space restrictions, the topic of individualism is very briefly

sketched in the two movies from the curriculum. The movies were chosen according to the

surface and content resemblance that were found as most suitable with the given topic.

However, the aspects covering existence of individualism are so broad and overlapping with

another disciplines, that the author mentions only limited motifs to study, such as

individualism as a communal feature in a nation, or as a highly personal distinctive feature in

a single character analysis. Despite the effort to equally distribute the study of individualism,

prevalent analysis touches mostly cultural values of Americans as globally known, amongst

which are sport, ethnic diversity or gender combat. Any further analysis of individualism

would require deeper psychological study to balance the subjectivity of the essay.
KAaA/INFm/15 Final assessment Denisa Ivančinová, 2BASm

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