On Kubrick provides an illuminating critical account of the films of Stanley Kubrick, from his earliest feature, Fear and Desire (1953), to the posthumously-produced A.I. Artificial Intelligence (Steven Spielberg, 2001). The book offers provocative analysis of each of Kubrick's films, together with new information about their production histories and cultural contexts. Its ultimate aim is to provide a concise yet thorough discussion that will be useful as both an academic text and a trade publication. James Naremore argues that in several respects Kubrick was one of the cinema's last modernists: his taste and sensibility were shaped by the artistic culture of New York in the 1950s; he became a celebrated auteur who forged a distinctive style; he used art-cinema conventions in commercial productions; he challenged censorship regulations; and throughout his career he was preoccupied with one of the central themes of modernist art – the conflict between rationality and its ever-present shadow, the unconscious. War and science are key concerns in Kubrick's oeuvre, and his work has a hyper-masculine quality. Yet no director has more relentlessly emphasized the absurdity of combat, as in Paths of Glory (1957) and Full Metal Jacket (1987), the failure of scientific reasoning, as in 2001 (1968), and the fascistic impulses in masculine sexuality, as in Dr Strangelove (1964) and Eyes Wide Shut (1999). The book also argues that while Kubrick was a voracious intellectual and a life-long autodidact, the fascination of his work has less to do with the ideas it espouses than with the emotions it evokes. Often described as 'cool' or 'cold,' Kubrick is best understood as a skillful practitioner of what might be called the aesthetics of the grotesque; he employs extreme forms of caricature and black comedy to create disgusting, frightening yet also laughable images of the human body, creating a sense of unease that leaves viewers unsure of how to react.
A screenwriter and author of Dispatches provides a firsthand portrait of his friend and colleague, Stanley Kubrick, describing the life and career of the legendary director, dispelling myths about him, and reflecting on his seminal ...
The book offers provocative analysis of each of Kubrick's films, together with new information about their production histories and cultural contexts.
Stanley Kubrick is one of our most brilliant, innovative and difficult filmmakers. Norman Kagan's analysis cuts a lucid path through those difficulties.
Drawing on interviews and new archival material, Mikics for the first time explores the personal side of Kubrick’s films.
Yet few critics or scholars have considered how he emerged from a unique and vibrant cultural milieu: the New York Jewish intelligentsia. Stanley Kubrick reexamines the director’s work in context of his ethnic and cultural origins.
... Len Shilton Assistant Directors : Roy Millichip , John Danischewsky Cast : James Mason ( Humbert Humbert ) , Sue Lyon ( Lolita Haze ) , Shelley Winters ( Charlotte Haze ) , Peter Sellers ( Clare Quilty ) , Diana Decker ( Jean Farlow ) ...
In Depth of Field, leading screenwriters and scholars analyze Kubrick's films from a variety of perspectives.
Studies the style and themes of the films of Stanley Kubrick.
Stanley Kubrick, quoted by Loudon Wainright, “The View from Here: The Strange Case of Strangelove,” Life, March 13, 1964, 15. 60. Jason Sperb, The Kubrick Facade: Faces and Voices in the Films of Stanley Kubrick (Lanham, Md.: Scarecrow ...
As Weidner states in the narration, The Shining is a film that “described the ordeal of faking the Apollo Moon landing.” But why would Kubrick need to make such a film? Weidner argues that Kubrick was weighed down by guilt and could not ...