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Journal articles on the topic 'Kubrick stanley'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Sáez-González, Jesús Miguel. "Eyes Wide Shut (Stanley Kubrick)." Vivat Academia, no. 100 (November 15, 2008): 47. http://dx.doi.org/10.15178/va.2008.100.47-48.

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12

Tenaglia, Mônica. "O O ARQUIVO DE STANLEY KUBRICK." Archeion Online 8, no. 2 (December 28, 2020): 19–35. http://dx.doi.org/10.22478/ufpb.2318-6186.2020v8n2.55522.

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Stanley Kubrick é considerado um dos diretores de cinema mais influentes da atualidade. Conhecido por sua natureza meticulosa e pelo alto nível de controle artístico, produziu grandes filmes sobre diversas temáticas. O objetivo do artigo é apresentar o processo de acumulação do acervo de Kubrick à luz de sua biografia e analisar o arquivo após seu recolhimento a um centro de documentação. Descritivo e de natureza qualitativa, o artigo foi produzido a partir de metodologia que utilizou pesquisa bibliográfica e relato de experiência. Como resultado, percebeu-se que a acumulação do acervo está diretamente relacionada à compreensão de Kubrick sobre a importância dos arquivos para viabilizar as relações de trabalho e a execução de ideias do diretor. Notou-se, também, que o acervo adquiriu novos usos e significados após seu recolhimento e tratamento documental por um centro de documentação. Conclui que o acesso ao arquivo de Kubrick pelo público em geral contribui para a divulgação e preservação do legado do diretor, bem como possibilita a efetivação do potencial educacional e de pesquisa dos arquivos.

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13

ABRAMS, NATHAN. "A Jewish American Monster: Stanley Kubrick, Anti-Semitism and Lolita (1962)." Journal of American Studies 49, no. 3 (November 12, 2014): 541–56. http://dx.doi.org/10.1017/s0021875814001844.

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This article presents a case study of the filmmaker Stanley Kubrick, considering how his films can be considered an emotional response to the Holocaust, the legacy of European anti-Semitism, and stereotypes of the Jewish American woman. It will argue that there are various clues in Kubrick's films which produce Jewish moments; that is, where, through a complementary directing and acting strategy, in particular one of misdirection, the viewer is given the possibility of “reading Jewish,” albeit not with certainty, for Jewishness is “textually submerged.” Its focus is Kubrick's 1962 adaptation of Vladimir Nabokov's Lolita (1955), in particular the character of Charlotte Haze, played by Shelley Winters, especially in light of Kubrick's choice of casting for the role, and Winters's subsequent performance of it. It will conclude that Holocaust and anti-Semitic stereotypes/reverse stereotypes haunt Kubrick's version of Lolita as an emotional, yet sub-epidermis, presence.

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14

Piwińska, Maria. "Adapting tone from novel to film: Vladimir Nabokov’s Lolita and its film adaptation by Stanley Kubrick." Literatura i Kultura Popularna 24 (April 18, 2019): 199–207. http://dx.doi.org/10.19195/0867-7441.24.15.

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Adapting tone from novel to film: Vladimir Nabokov’s Lolita and its film adaptation by Stanley KubrickThe article deals with Vladimir Nabokov’s Lolita and its film adaptation by Stanley Kubrick. The tone of the novel makes a simple transfer from novel to film impossible without losing characteristics of the novel. These consist of unreliable narration, wordplays, satire and numerous examples of parody. Kubrick suggests a range of devices to convey the tone of the novel.

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15

Cherchi Usai, Paolo. "Kubrick as Architect." Cinémas 9, no. 1 (October 26, 2007): 117–36. http://dx.doi.org/10.7202/024776ar.

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ABSTRACT This essay examines the expressive relevance of architectural elements in the films of Stanley Kubrick. The proposals of Hermann Muthesius and Frank Lloyd Wright concerning the relationships of function to form and of ornement to the architectural whole are considered as a theoretical ground for exploring the ways in which elements such as windows, staircases, corridors and ornament acquire symbolic and narrative functions in Kubrick.

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16

Bradley, Scott. "Stanley Kubrick: A Biography Vincent Lobrutto." Film Quarterly 52, no. 2 (December 1998): 62. http://dx.doi.org/10.2307/1213286.

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17

Bradley, Scott. ": Stanley Kubrick: A Biography . Vincent Lobrutto." Film Quarterly 52, no. 2 (December 1998): 62. http://dx.doi.org/10.1525/fq.1998.52.2.04a00200.

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18

Fenwick, James. "Stanley Kubrick: New York Jewish intellectual." Journal of Modern Jewish Studies 20, no. 1 (January 2, 2021): 132–33. http://dx.doi.org/10.1080/14725886.2021.1875591.

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19

Nascimento, Rafael Rodrigues. "Barry Lyndon: o Filme Histórico de Stanley Kubrick." Epígrafe 10, no. 1 (June 1, 2021): 556–67. http://dx.doi.org/10.11606/issn.2318-8855.v10i1p556-567.

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O presente ensaio tem por objetivo apresentar as características que marcam o filme Barry Lyndon de Stanley Kubrick no quesito veracidade histórica e representação da sociedade de cortes à luz de obras historiográficas. Nesse sentido, o ensaio buscará cotejar cenas do filme comparando com obras que analisam o período retratado dentro do longa-metragem a fim de averiguar o caráter histórico fidedigno retratado na montagem de Kubrick.

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20

Fitzgerald, Lara, and Christopher James Keep. "Barry Lindon démembré : la perte de l’histoire dans le film de Stanley Kubrick." Cinémas 4, no. 1 (December 16, 2010): 23–33. http://dx.doi.org/10.7202/1000108ar.

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Le film Barry Lyndon (1975) de Stanley Kubrick est peut-être l’oeuvre le moins appréciée du directeur américain. Reconnu pour sa valeur artistique, les critiques, néanmoins, condamnèrent Barry Lyndon pour l’opulence exorbitante du décor et pour « sa technique trop perfectionnée ». La présente étude propose de réexaminer l’excès de la méthode de Kubrick. Dans un premier temps, les auteurs établissent de quelle façon Kubrick s’abstient des conventions du cinéma réaliste afin de révéler l’altérité radicale du passé, et, par ailleurs, comment son obsession du détail historique finit par nous éloigner et non pas nous rapprocher du XVIIIe siècle. Étant donné cette impossibilité de re-présenter l’histoire dans la plénitude du présent, les auteurs examinent, dans un deuxième temps, comment Kubrick montre la violence du signe cinématographique. Dans Barry Lyndon, Kubrick opère une « inversion catastrophique » où la proximité de l’événement à l’écran si familière du cinéma réaliste est ressentie comme une intrusion étrange, comme une violente pénétration de l’espace.

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21

Panarotto, Demétrio. "De 1968 a 2018, uma odisseia e a falta de espaço." Revista Crítica Cultural 13, no. 1 (June 29, 2018): 99. http://dx.doi.org/10.19177/rcc.v13e1201899-106.

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A imaginação como elemento provocador da própria imaginação; do gesto de imaginar e junto profanar. Giorgio Agamben, Orson Wells e Kafka como possibilidade de movimentar Stanley Kubrick (junto) com Glauber Rocha, Tom Zé, Caetano Veloso e Pero Vaz de Caminha. O ponto de partida é uma imagem do filme 2001: uma Odisseia no Espaço, de Kubrick; o resto é excesso.

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22

Isaacs, Bruce. "Fear and Desire dir. by Stanley Kubrick." Modernism/modernity 21, no. 1 (2014): 400–402. http://dx.doi.org/10.1353/mod.2014.0001.

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23

Webb, Melissa J. "Kubrick Becoming: An Interview with Philippe Mather on Stanley Kubrick at Look Magazine." Film Matters 8, no. 2 (September 1, 2017): 15–19. http://dx.doi.org/10.1386/fm.8.2.15_1.

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24

Kreider, Tim. ": Eyes Wide Shut . Stanley Kubrick, Brian W. Cook." Film Quarterly 53, no. 3 (April 2000): 41–48. http://dx.doi.org/10.1525/fq.2000.53.3.04a00060.

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25

NAREMORE, JAMES. "Stanley Kubrick and the Aesthetics of the Grotesque." Film Quarterly 60, no. 1 (2006): 4–14. http://dx.doi.org/10.1525/fq.2006.60.1.4.

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ABSTRACT ““The grotesque,”” which became a stylistic term in the Italian renaissance and later contributed significantly to all forms of modernist art, can help us better understand the so-called ““coldness”” often attributed to Stanley Kubrick's films. The whole of Kubrick's art is designed to produce a grotesque clash of emotions, an unstable blending of humor and terror that derives ultimately from anxieties about the human body.

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26

Rodrigues, Nuno Simões. "“I’m Spartacus!” Kubrick, Espártaco e Lope de Vega." Nuntius Antiquus 13, no. 1 (August 31, 2017): 171–83. http://dx.doi.org/10.17851/1983-3636.13.1.171-183.

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Com este estudo, propomos uma análise de uma das mais famosas cenas do filme Spartacus de Stanley Kubrick (1960), aquela em que os escravos chefiados por Espártaco e derrotados pelos Romanos autoproclamam em uníssono “I’m Spartacus!”, considerando a hipótese de o realizador e o argumentista se terem baseado na peça espanhola barroca de Lope de Vega, Fuenteovejuna.

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27

Hoff, Dogmar Von, and Claudia Dornbusch. "Mundos Artísticos em Diálogo." Aletria: Revista de Estudos de Literatura 8 (December 31, 2001): 169. http://dx.doi.org/10.17851/2317-2096.8.0.169-174.

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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 Scnitzler, em diálogo com o filme de Stanley Kubrick, Eyes wide shut, realizado a partir dôo texto do autor austríaco.

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28

Velikovsky, Joe T. "Darwin & Kubrick, Joe Campbell & Me: Eminent-Genius and Everyday-Joe Heroes on a Journey." Journal of Genius and Eminence 2, Volume 2, Issue 2: Winter 2017 (December 1, 2017): 54–68. http://dx.doi.org/10.18536/jge.2017.02.2.2.06.

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This article examines the lives of two eminent geniuses, scientist-writer Charles Darwin (1809-1882) and writer-artist-filmmaker Stanley Kubrick (1928-1999), as monomythic hero’s journeys. The article is in three parts: Part One (Separation) presents Vogler’s (1992) twelve-step monomyth, a compressed version of the 17-step monomyth hero’s journey pattern identified by comparative mythographer Joseph Campbell (1949) in The Hero with a Thousand Faces. In Part Two (Initiation) the twelve-step monomyth narrative algorithm (Vogler, 1992) is used to explain the eminent genius lifework of Charles Darwin, and this same twelve-step lens is then applied to the eminent genius lifework of Stanley Kubrick. Part Three (The Return) applies the same twelve-step monomyth to the author-researcher of this article (Velikovsky), aiming to demonstrate how the monomyth applies not only on large scales to eminent geniuses such as Darwin and Kubrick in Science and the Arts, but also on small scales—even to Everyday Joes such as myself, thus also supporting Williams (2016, 2017). The conclusion drawn is that the monomyth pattern is a life-problem and also domain-problem solving tool, supporting the heroism science research of Allison (2016) and Efthimiou (2016a, 2016b). As this research is transdisciplinary, the disciplines of the research presented are: Communication and Media Arts, Information Science and Technology, Creativity Studies, Consilient Narratology, Evolutionary Psychology, and Metamodernism.

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29

Melia, Matthew. "Stanley Kubrick at the Interface of film and television." Essais, Hors-série 4 (July 1, 2018): 195–219. http://dx.doi.org/10.4000/essais.646.

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30

Rodrigues, Nuno Simões. "A Antiguidade no cinema: Spartacus de Stanley Kubrick (1960)." Boletim de Estudos Clássicos 54 (2011): 97–98. http://dx.doi.org/10.14195/0872-2110_54_9.

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31

Morris, Nigel. "Stanley Kubrick: New York Jewish Intellectual by Nathan Abrams." Shofar: An Interdisciplinary Journal of Jewish Studies 37, no. 2 (2019): 196–99. http://dx.doi.org/10.1353/sho.2019.0015.

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32

Mikics, David. "Stanley Kubrick: New York Jewish Intellectual by Nathan Abrams." Film Quarterly 72, no. 1 (2018): 106–8. http://dx.doi.org/10.1525/fq.2018.72.1.106.

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33

Fenwick, James, I. Q. Hunter, and Elisa Pezzotta. "The Stanley Kubrick Archive: A Dossier of New Research." Historical Journal of Film, Radio and Television 37, no. 3 (July 3, 2017): 367–72. http://dx.doi.org/10.1080/01439685.2017.1342329.

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34

Krämer, Peter. "Adaptation as Exploration: Stanley Kubrick, Literature, andA.I. Artificial Intelligence." Adaptation 8, no. 3 (August 24, 2015): 372–82. http://dx.doi.org/10.1093/adaptation/apv021.

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35

Krämer, Peter. "Stanley Kubrick and the internationalisation of post-war Hollywood." New Review of Film and Television Studies 15, no. 2 (July 20, 2016): 250–69. http://dx.doi.org/10.1080/17400309.2016.1208993.

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36

Piassi, Luís Paulo. "Clássicos do cinema nas aulas de ciências - A física em 2001: uma odisseia no espaço." Ciência & Educação (Bauru) 19, no. 3 (2013): 517–34. http://dx.doi.org/10.1590/s1516-73132013000300003.

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Quando se fala em usar ficção científica em aulas de física, o filme 2001: uma odisseia no espaço, dirigido por Stanley Kubrick, aparece como referência mais ou menos obrigatória. Nosso objetivo é argumentar que o interesse da comunidade de educadores em física por esse filme é consequência de uma escolha narrativa de Kubrick e de Arthur Clarke, o prestigiado escritor de ficção científica que, junto com o diretor, elaborou o roteiro. Mostramos, empregando instrumentos teóricos derivados da semiótica greimasiana, que, nesse particular segmento da obra, a opção foi expressar uma determinada visão sobre o ser humano e sua relação com o mundo físico por meio da ciência. Concluímos que uma obra como a de Kubrick vai muito além de um recurso didático atraente, sendo uma referência cultural importante, uma narrativa sobre a ciência e os desejos humanos, expressos na ideologia de uma sociedade que se sustenta no conhecimento científico.

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37

Cano Palomo, Alejandro. "La música de Ligeti en Secundaria a través de 2001: Una Odisea del Espacio." Popular Music Research Today: Revista Online de Divulgación Musicológica 2, no. 2 (October 14, 2020): 61–78. http://dx.doi.org/10.14201/pmrt.23715.

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El trabajo llevado a cabo en esta investigación se centra en el uso de los medios audiovisuales como recurso didáctico en el aula de música de la enseñanza secundaria española, así como la música del compositor húngaro G. Ligeti (1923-2006) y el uso de sus partituras en la película 2001: Una odisea del espacio (1968) del director Stanley Kubrick (1928-1999). Tras la parte de investigación, se presenta una propuesta didáctica para el resto de la comunidad educativa, de posible aplicación a la hora de abordar la música de Ligeti y el concepto de música textural a través de la cinta de Kubrick y las piezas musicales Requiem, Lux Aeterna y Atmosphères, con materiales de elaboración propia.

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38

Knight, Shara D. "2001: A Space Odyssey, directed by Stanley Kubrick (1968), screenplay by Stanley Kubrick and Arthur C. Clarke, 141 minutes, USA: Metro-Goldwyn Mayer." International Journal of Jungian Studies 10, no. 3 (February 8, 2018): 266–71. http://dx.doi.org/10.1080/19409052.2018.1507188.

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39

Drossart, Francis. "Violence et persuasion dans Eyes wide shut de Stanley Kubrick." Topique 111, no. 2 (2010): 169. http://dx.doi.org/10.3917/top.111.0169.

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40

Mather, Philippe. "Jerold J. Abrams, ed. (2007) The Philosophy of Stanley Kubrick." Film-Philosophy 11, no. 3 (October 2007): 224–30. http://dx.doi.org/10.3366/film.2007.0037.

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41

Kreider, Tim. "Review: Eyes Wide Shut by Stanley Kubrick, Brian W. Cook." Film Quarterly 53, no. 3 (2000): 41–48. http://dx.doi.org/10.2307/1213735.

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42

O’Cuana, Emmet. "VIDDY WELL, BROTHER: An Australian comic’s tribute to Stanley Kubrick." Film International 11, no. 6 (December 1, 2013): 37–41. http://dx.doi.org/10.1386/fiin.11.6.37_1.

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43

Abrams, Nathan. "Becoming a Macho Mensch: Stanley Kubrick,Spartacusand 1950s Jewish Masculinity." Adaptation 8, no. 3 (March 30, 2015): 283–96. http://dx.doi.org/10.1093/adaptation/apv006.

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44

Pérez Romero, Enrique. ""2001: Una odisea del espacio", paradigma del cine de lo sublime." ZER - Revista de Estudios de Comunicación 25, no. 48 (May 29, 2020): 15–44. http://dx.doi.org/10.1387/zer.21020.

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Se analiza la caracterización del concepto de "lo sublime", en su origen y durante el siglo XVIII, definiendo con nitidez el núcleo duro de las ideas que lo componen y aquellas otras que, procedentes de un solo autor o secundarias, fueron perfilando su contorno. Posteriormente, se sintetiza la relación de este concepto con la película de Stanley Kubrick "2001: Una odisea del espacio" (1968), demostrando que es un paradigma cinematográfico de lo sublime.

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45

Metlić, Dijana. "Stanley Kubrick and Hieronymus Bosch: In The Garden of Earthly Delights." Essais, Hors-série 4 (July 1, 2018): 105–23. http://dx.doi.org/10.4000/essais.633.

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46

Martino, Caterina. "Pictures of 2001: A Space Odyssey in the Stanley Kubrick Archive." Photography and Culture 9, no. 1 (January 2, 2016): 79–87. http://dx.doi.org/10.1080/17514517.2016.1153263.

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47

Braae, Nick. "We'll Meet Again: Musical Design in the Films of Stanley Kubrick." Popular Music and Society 38, no. 4 (November 14, 2014): 536–38. http://dx.doi.org/10.1080/03007766.2014.980604.

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48

Moraes, Helvio. "O Iluminado: o gênero do horror na leitura de Stanley Kubrick." Revista Leitura 2, no. 54 (2014): 148–63. http://dx.doi.org/10.28998/2317-9945.2014v2n54p148-163.

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49

Miller, Cynthia J. "Depth of Field: Stanley Kubrick, Film, and the Uses of History." History: Reviews of New Books 35, no. 1 (October 2006): 24–25. http://dx.doi.org/10.1080/03612759.2006.10526982.

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50

Kim, Jihoon. "Stanley Kubrick in the Museum: Post-cinematic Conditions, Limitations, and Possibilities." Curator: The Museum Journal 60, no. 4 (October 2017): 467–87. http://dx.doi.org/10.1111/cura.12225.

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