Relevant bibliographies by topics / Kubrick stanley

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  2. Dissertations / Theses
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Academic literature on the topic 'Kubrick stanley'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Kubrick stanley"

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Hoff, Dogmar Von, and Claudia Dornbusch. "Mundos artísticos em diálogo: literatura de expressão alemã e cinema." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 169–74. http://dx.doi.org/10.17851/2317-2096.8..169-174.

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Resumo: Analisamos aqui a construção de universos narrativos na literatura e no cinema, bem como sua interação. Base para tanto são o texto Traumnovelle (Breve romance de sonho) de Arthur Schnitzler, em diálogo com o filme de Stanley Kubrick, Eyes wide shut, realizado a partir do texto do autor austríaco.Palavras-chave: Arthur Schnitzler; Stanley Kubrick; construção de realidade narrativa; linguagem literária; linguagem cinematográfica.Abstract: In this article we analyze the construction of narrative universes in literature and film, as well as their interaction. For this, we consider the text Traumnovelle by Arthur Schnitzler, in its dialogue with Stanley Kubrick’s film Eyes wide shut, which was based on the Austrian writer’s text.Keywords: Arthur Schnitzler; Stanley Kubrick; construction of narrative reality; cinematographic language; literary language.
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Piskorz, Artur. "Aryan Papers: The Polish Connection." Media - Kultura - Komunikacja Społeczna 2, no. 12 (February 13, 2019): 73–81. http://dx.doi.org/10.31648/mkks.3023.

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Na początku lat dziewięćdziesiątych ubiegłego stulecia Stanley Kubrick planował nakręcić film na podstawie powieści Louisa Begleya zatytułowanej Wojenne kłamstwa – historii Maćka oraz jego ciotki, Tani, zmuszonych do ucieczki z Polski po niemieckiej inwazji. W poszukiwaniu odpowiednich plenerów Kubrick podjął współpracę ze Studiem Filmowym „Tor”. Równoległa produkcja Listy Schindlera przez Stevena Spielberga zmusiła Kubricka do porzucenia projektu ze względu na podobną tematykę obu filmów. Ćwierć wieku później korespondencja (listy, faksy, faktury, ogłoszenia) pomiędzy Kubrickiem a jego polskimi współpracownikami ujrzała światło dzienne, dając wgląd we (wstępny) etap procesu produkcyjnego filmu Kubricka na temat losów Żydów w czasie II wojny światowej.
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Zanotti, Serenella. "Translaboration in a film context." Target. International Journal of Translation Studies 32, no. 2 (July 1, 2020): 217–38. http://dx.doi.org/10.1075/target.20077.zan.

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Abstract This study explores the notion of translaboration in the context of audiovisual translation using Stanley Kubrick’s Full Metal Jacket (1987) as a case study. Specifically, it explores the dynamics of translaboration in the Italian version of Kubrick’s film by drawing on archival methods and sources to examine the material traces left by the translation process. The study aims to unveil the translaborative dimension that characterized Kubrick’s approach to film translation, pointing to the specificity of a collaborative interaction in which one participant holds ultimate authority. Findings gleaned from translation-related material in the Stanley Kubrick Archive (University of the Arts, London) are combined with insights from working documents found among the personal papers of Riccardo Aragno, who translated Kubrick’s last five films into Italian for both dubbing and subtitling. Archival documents show that Kubrick was involved in collaborative work with his translators, sometimes adopting an interventionist approach.
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Deutsch, James I. "Stanley Kubrick: new perspectives." Historical Journal of Film, Radio and Television 35, no. 3 (July 3, 2015): 518–19. http://dx.doi.org/10.1080/01439685.2015.1059611.

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Auduraud, Christophe. "Stanley Kubrick, artiste initiatique." La chaîne d'union N° 56, no. 2 (January 2, 2011): 50–57. http://dx.doi.org/10.3917/cdu.056.0050.

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Mather, Philippe D. "Stanley Kubrick: Photography and Film." Historical Journal of Film, Radio and Television 26, no. 2 (June 2006): 203–14. http://dx.doi.org/10.1080/01439680600691719.

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Krämer, Peter. "Stanley Kubrick: Known and Unknown." Historical Journal of Film, Radio and Television 37, no. 3 (June 28, 2017): 373–95. http://dx.doi.org/10.1080/01439685.2017.1342330.

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Fenwick, James. "Stanley Kubrick: Adapting the Sublime." Adaptation 8, no. 3 (May 21, 2015): 383–90. http://dx.doi.org/10.1093/adaptation/apv015.

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Paletz, Gabriel M. "The Stanley Kubrick Archives (review)." Moving Image 7, no. 1 (2007): 103–7. http://dx.doi.org/10.1353/mov.2007.0027.

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Sáez-González, Jesús Miguel. "La naranja mecánica (Stanley Kubrick)." Vivat Academia, no. 100 (November 15, 2008): 44. http://dx.doi.org/10.15178/va.2008.100.44-46.

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Dissertations / Theses on the topic "Kubrick stanley"

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Vacirca, Silvia <1981&gt. "Stanley Kubrick: architetture dello spazio." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3058/.

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Saengprapan, Pichaiwat. "Le décor chez Stanley Kubrick." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20064.

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S’interroger sur le décor de cinéma parait ouvrir un champ de recherche illimité, surtout lorsqu’il s’agit de la création cinématographique de Stanley Kubrick. Indéniablement le décor nous transmet l'état émotif des personnages, illustre l’ambiance des séquences et est même source de jouissance esthétique. Le décor de cinéma chez Kubrick apparaît alors comme un élément prépondérant de son langage cinématographique. Certains décors de ses films font même partie de notre mémoire cinématographique collective. Parmi ses treize longs métrages, cette recherche analyse plus précisément le décor dans A Clockwork Orange / Orange mécanique (1971), décor aussi polémique que le film lui-même. Avec une approche pluridisciplinaire : cinématographique, esthétique, sémiologique, sociologique, historique, cette recherche montre le caractère symbolique et esthétique du décor qui est lié à son aspect iconique, plastique et à son rapport à l’élément sonore du film. L’objet principal est de faire comprendre le « sens » du décor et la façon de le construire au sein du film. L’étude du décor chez Kubrick permet de connaître ses sources d’inspiration et son goût pour l’architecture, le design et les Arts. De surcroît, cette recherche atteste son caractère perfectionniste grâce auquel il est considéré comme l’un des plus grands cinéastes visionnaires de l’histoire du cinéma
Questions on film sets always seem to open up new fields of research, especially when the film is by Stanley Kubrick. Certainly, his scenic design conveys the emotional state of the characters illustrates the atmosphere of the sequences and even arouses our aesthetic pleasure. Kubrick’s film sets are a dominating element for his film language. Many of them are a part of our collective film memory. Among his thirteen films, this research focuses on the scenic design in A Clockwork Orange / Orange mécanique ( 1971 ) which caused as much debate as the movie itself. Thank to a multidisciplinary approach: cinematography, aesthetics, semiology, sociology, and history of art, this research shows the significance and artistic value of the film sets which are linked to its iconic and plastic aspects and to its relationship with sound. The main objective is to clarify the "meaning" of the film sets and the way they are conceived within the movie. The study of the Kubrick’s film sets allows us to know his artistic tastes, his sources, classical and contemporary, of architecture, design and Arts. Furthermore, this research gives evidence of his perfectionist character, thanks to which he is considered as one of the greatest visionary filmmakers of cinema’s history
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Thompson, Andrew William. "Stanley Kubrick and the American Myth." Thesis, Boston College, 2011. http://hdl.handle.net/2345/1962.

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Thesis advisor: John Michalczyk
Stanley Kubrick explored and subverted the concept of American Myth throughout his filmography. American Myth may include the notion of social mobility (the American Dream), the archetypal gunslinger of the American West, the righteousness of a democratic system, a belief in social egalitarianism, and explicit foreign policies such as the Monroe Doctrine and the idea of Manifest Destiny. Kubrick’s Paths of Glory is an indictment of modern war and the commoditization of human lives. Dr. Strangelove demonstrates a uniquely American obsession with technology, proving innovation is not always progress. Finally, with Full Metal Jacket, Kubrick shows Vietnam has supplanted the West as America’s frontier, complete with gunplay between cowboys and native inhabitants
Thesis (BA) — Boston College, 2011
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Film Studies
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Fischer, Ralf Michael. "Raum und Zeit im filmischen Œuvre von Stanley Kubrick /." Berlin : Gebr. Mann Verlag, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3190068&prov=M&dok_var=1&dok_ext=htm.

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Fischer, Ralf Michael. "Raum und Zeit im filmischen Oeuvre von Stanley Kubrick." Berlin Gebr. Mann, 2006. http://d-nb.info/991631412/04.

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Aziza, Samy. "Approche philosophique du nihilisme dans l'oeuvre de Stanley Kubrick." Paris 1, 2008. http://www.theses.fr/2008PA010653.

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Le pessimisme parfois radical des oeuvres de Kubrick et sa vision désabusée de la nature humaine lui valurent souvent d'être taxé de nihiliste. Pourtant, il ne se reconnaissait pas dans cette description. Dans un premier temps, nous nous proposerons de définir le champ philosophique de notre étude en nous appuyant principalement sur les travaux de Nietzsche et de Heidegger. Dans un deuxième temps, nous nous efforcerons de montrer en quoi le nihilisme est effectivement l'un des principaux thèmes du cinéma de Kubrick. Une première partie sera consacrée au nihilisme actif dans des films tels qu'Orange Mécanique et Docteur Folamour. Une deuxième partie recentrera l'analyse sur le nihilisme passif qui traverse des films tels que 2001 : l'odyssée de l'espace et Full Metal Jacket. La dernière partie sera une réflexion sur la manière dont Kubrick envisage le nihilisme extatique et s'interroge sur la destination finale de ['homme dans des films tels queShining, Eyes Wide Shut et 2001
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Marcolino, Marcio Cardoso. "O compositor Stanley Kubrick: análise do som no filme De olhos bem fechados de Stanley Kubrick através da teoria sonora de Michel Chion." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/JSSS-8ZFPVQ.

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This present work proposes the analisys of the film Eyes wide shut (1999) of Stanley Kubrick under the aspect of the intersection of the sound and image languages beyond the categories of sound theory´s Michel Chion. The sound context of film suggest a specific analysis in parallel with the filmic narrative of Kubrick, pointing him like a composer of soundtrack, increasing sound, giving it meaning in front of images.The way adopted came with the sound plans graphic plans of film sequences, showing on time, music, sound effects and voice to study the form like the director use sound like a semantic tool.
Esta dissertação de mestrado tem como objetivo analisar o filme De olhos bem fechados de Stanley Kubrick sob o aspecto da interseção das linguagens sonora e imagética através das categorias da teoria sonora de Michel Chion. O universo sonoro do filme sugere uma análise específica em paralelo com a narrativa fílmica estabelecida por Kubrick, apontando o diretor como um compositor da trilha sonora, ao potencializar o material sonoro, dotando-o de significado frente às imagens. A metodologia adotada parte dos planos sonoros planilhas gráficas das seqüências do filme, explicitando no tempo, música, efeitos sonoros e voz para estudar a forma como o diretor utiliza o som como uma ferramenta semântica.
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Roblou, Yann. "La violence du langage dans les films de Stanley Kubrick." Paris 10, 1997. http://www.theses.fr/1997PA100021.

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La violence est un phenomene facilement identifiable mais un concept evanescent. Elle nous semble constituer l'essence meme du travail du cineaste stanley kubrick. En partant d'une mise en relation de la violence et du langage, nous avons tente de montrer que, dans le cadre de son oeuvre, ces deux termes conditionnent une esthetique formelle aussi bien que thematique. En effet, le langage cinematographique utilise par le realisateur porte des marques evidentes du rapport entre la violence et l'image, le son, le montage et le champ referentiel. On peut trouver egalement des exemples d'une violence symbolique concernant le corps humain, le mecanique, le pouvoir et la mort. Enfin, il est possible de degager de l'oeuvre de kubrick une reflexion qui passe par la mise en scene de l'oeil et du regard pour aboutir a une prise de conscience de la part du spectateur du role qu'il a a jouer dans sa relation avec le film
Violence is an easily identifiable phenomenon but an evanescent concept. It seems to constitute the very essence of filmmaker stanley kubrick's work. Beginning with the interaction of violence and language, we have tried to show that, in the context of his films, these two terms condition a formal as well as a thematic aesthetics. As a matter of fact, the cinematographic language used by the director bears evident marks of the relation between violence and pictorial composition, sound, editing and field of reference. We can also find examples of symbolic violence concerning the human body, machines, power and death. Finally, it is possible to notice the emergence of a reflection, through the dramatization of the eye and of the activity of vision, leading to the spectator's awareness of the part he has to play in his relation to the film
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Sa, Leonor da Cruz e. "Figuração e invisibilidade: uma leitura de \'De olhos bem fechados\' de Stanley Kubrick." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17102007-153102/.

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Para filmar o último filme de sua vida, Stanley Kubrick baseou-se na novela de Arthur Schnitzler, \"Breve romance de sonho\" (1926), fato que já requer atenção: como filmar em 2000 um filme baseado em um livro escrito no final do século XIX? Como mostrar as questões de uma classe social tão marcante, naquela época em transformação e consolidação, agora no século XXI ? Kubrick definiu o livro como sendo o romance sobre o medo. Uma questão é tentar responder a qual medo ele se referia? O tema da sexualidade forte no romance e no filme e a relação clara entre Schnitzler e Freud fazem pensar na relação que hoje temos com a sexualidade e podem servir como chaves para algumas respostas. A questão de figuração e opressão são fundamentais neste trabalho.
To film the last film of his career, Stanley Kubrick was based on the novel of Arthur Schnitzler, \"Traumnovelle\" (1926), fact that already requires attention: how to film in the year 2000 a film based on a book written in the end of 19th century? How to express the problems of a social class from a period in transformation and consolidation in the 20th century? Kubrick defined the book as being a romance on fear. An objective can be defining the fear that is mentioned. A present subject in the romance and the film is sexuality and a clear relation between Schnitzler and Freud. The problem of oppression is basic in this paper.
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Ezequiel, Maíra Cínthya N. "Entre cinema e pintura: o realismo plástico de Stanley Kubrick em Barry Lyndon." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4858.

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Made available in DSpace on 2016-04-26T18:16:02Z (GMT). No. of bitstreams: 1 Maira Cinthya Nascimento Ezequiel.pdf: 683377 bytes, checksum: f0d27e8c791fe6f4cea2b427509e9bf5 (MD5) Previous issue date: 2007-03-02
This investigation searches for the effects of meaning resultants from the use of plasticity as a method for creating the visuality in the movie Barry Lyndon, by Stanley Kubrick (1975), and, at the same time, the intersemioticity that emerges from the blending of the aesthetic languages of cinema, painting and literature here involved. Concerning the methodology, it is based on a group of aesthetic and semiotic theories which include, especially, the model for analysis of meaning in visual arts proposed by Erwin Panofsky, the bonds between cinema and painting noted by Jacques Aumont, the concept of effect of realism such as formulated by Roland Barthes and of intersemiotic translation introduced by Roman Jakobson (and later redeveloped by Julio Plaza). The aim of this research is to follow the process of production of a realistic effect on the passages between one language and another. The hipothesis risen is that the strong sense of verosimilitude that results from the final product borrows its mode of installation from some of the eighteenth century realistic French painting. The choice of the movie is due to its stated visual exuberance as a result of a sophisticated dialogue established between the careful light capture and the rigorous use of pictorial references in correspondence with the historical time of the action, precisely the works Constable, Courbet, Corot and the so-called Barbizon Painters. Finally, Por fim, it drafts na approach between Kubrick s work and the idea of Modernity as thought by Baudelaire
O trabalho investiga os efeitos de sentido decorrentes do uso da plasticidade como método de construção da visualidade no filme Barry Lyndon, de Stanley Kubrick (1975), e, em paralelo, a intersemioticidade resultante do entrecruzamento das linguagens do cinema, da pintura e da literatura aí em jogo. Metodologicamente, ampara-se num conjunto de teorias estéticas e semióticas que envolvem, principalmente, o modelo de análise do significado nas artes visuais proposto por Erwin Panofsky, as aproximações entre o cinema e a pintura feitas por Jacques Aumont, o conceito de efeito de real tal como formulado por Roland Barthes e o de tradução intersemiótica introduzido por Roman Jakobson (e depois retomado por Julio Plaza). O objetivo da pesquisa é acompanhar o processo de produção de um efeito de real nas passagens entre uma e outra linguagem. A hipótese é que o forte efeito de verossimilhança que resulta deste filme toma emprestado da pintura realista francesa do século XVIII seu modo de se instalar. A escolha do filme deve-se à constatação de sua exuberância visual como resultado de um sofisticado diálogo estabelecido entre a minuciosa captação da luz e o rigor na utilização de referenciais pictóricos encontrados na pintura correspondente ao tempo da ação, mais precisamente nas obras de Constable, Courbet, Corot e dos Pintores de Barbizon. Por fim, esboça-se uma aproximação entre o trabalho de Kubrick e o que Baudelaire chamou de Modernidade
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Books on the topic "Kubrick stanley"

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Keppler, Maja, and Hans-Peter Reichmann, eds. Stanley Kubrick. Frankfurt am Main, Germany: Deutsches Filmmuseum, 2007.

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Polo, Juan Carlos. Stanley Kubrick. Madrid: Ediciones JC, 1986.

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Bruno, Marcello Walter. Stanley Kubrick. Roma: Gremese, 1999.

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Emsbach, Eleonore, Gerold Hens, and Natalie Lettenewitsch, eds. Stanley Kubrick. Frankfurt/Main, Germany: Deutsches Filmmuseum, 2004.

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Stanley Kubrick. Paris: Cahiers du cinéma Sari, 2010.

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Stanley Kubrick. Paris: Rivages, 1989.

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Sybil, Taylor, and Ruchti Ulrich, eds. Stanley Kubrick, director. London: Weidenfeld & Nicolson, 1999.

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Cremonini, Giorgio. Stanley Kubrick: Shining. Torino: Lindau, 1999.

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Stanley Kubrick companion. London: B.T. Batsford, 1999.

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Kubrick, Stanley. Stanley Kubrick: Interviews. Jackson: University Press of Mississippi, 2001.

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Book chapters on the topic "Kubrick stanley"

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"Introduction." In Stanley Kubrick, 1–19. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-001.

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"1. Looking To Killing." In Stanley Kubrick, 20–44. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-002.

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"2. The Macho Mensch." In Stanley Kubrick, 45–70. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-003.

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"3. Kubrick’s Double." In Stanley Kubrick, 71–93. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-004.

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"4. Banality And The Bomb." In Stanley Kubrick, 94–117. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-005.

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"5. Kubrick And Kabbalah." In Stanley Kubrick, 118–41. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-006.

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"6. A Mechanical Mensch." In Stanley Kubrick, 142–64. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-007.

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"7. A Spatial Odyssey." In Stanley Kubrick, 165–89. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-008.

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"8. Dream Interpretation." In Stanley Kubrick, 190–213. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-009.

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"9. Men As Meat." In Stanley Kubrick, 214–38. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813587134-010.

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