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Journal articles on the topic 'Kubrick'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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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

Hye-Knudsen, Marc. "Dr. Strangelove and the Psychology of Comic Distance." Projections 16, no. 2 (June 1, 2022): 53–73. http://dx.doi.org/10.3167/proj.2022.160203.

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In 1964, near the height of Cold War nuclear anxiety, millions of Americans flocked to movie theatres to see their own nuclear annihilation hilariously enacted for them in Stanley Kubrick’s Dr. Strangelove. How did Kubrick transform one of his time’s most pressing causes of psychological distress into a source of humorous pleasure? To answer this question, I offer a cognitive account of how comic distance works on film, building on research indicating humor to be an evolved response to benign violations. I show that Kubrick consistently optimized for psychological distance in Dr. Strangelove, comparing his narrative and stylistic choices to those of Sidney Lumet in Fail Safe, a contemporaneous film that plays the same essential story for drama instead of laughs.

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5

Veríssimo, Fernando. "Stanley Kubrick." Sinopse (São Paulo) 1, Zero (April 7, 1999): 25. http://dx.doi.org/10.11606/issn.1807-8907.v1izerop25-25.

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6

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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7

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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8

Shaw, Dan. "Kubrick Contra Nihilism." Film and Philosophy 9 (2005): 68–73. http://dx.doi.org/10.5840/filmphil200599.

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9

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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10

Pérez Romero, Enrique. "Las gemelas Grady (El Resplandor): paradigma de una nueva perspectiva de estudio sobre Stanley Kubrick." Revista de Ciencias de la Comunicación e Información 28 (September 20, 2023): 148–73. http://dx.doi.org/10.35742/rcci.2023.28.e284.

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Introducción: Se analiza la decantación iconográfica de las gemelas Grady, personajes del filme El resplandor (Stanley Kubrick, 1980), así como su influencia en la cultura de masas. Se determina su estatus paradigmático de una nueva perspectiva de estudio para la obra de Kubrick, incluyendo su corpus fotográfico y el impacto del continuum artes plásticas-artes mecánicas-cultura de masas. Metodología: Se procede a dividir la obra de Kubrick en fotografía y cine, y a hacer uso de la estética comparada, para interrelacionar los contenidos de las tres partes del continuum mencionado. Se aplica el método del análisis «plano a plano» para su cine, a partir de una taxonomía completa de todos los planos que rodó. Resultados: Las principales consecuencias del trabajo son: a) constatar la necesidad de considerar la fotografía como parte relevante del corpus autoral de Kubrick; b) demostrar la capacidad explicativa del continuum mencionado respecto a su corpus cinematográfico; y c) dejar clara la necesidad de profundizar en la fuerte interrelación entre la obra kubrickiana y la cultura de masas. Discusión: Visto lo anterior, es obligado desencajar a Stanley Kubrick de modelos reduccionistas (teoría del autor, teoría del género, historicismo, análisis textual) y aplicarle la nueva perspectiva que se propone. Conclusiones: Al final encontramos un nuevo espacio investigador de gran fertilidad, que abre el estado de la cuestión sobre el estudio de Kubrick, y que nos permitirá profundizar sin límites en su relevancia e influencia como creador visual.

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11

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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12

Dehée, Yannick. "Kubrick, l'espace de l'Odyssée." Hermès 34, no. 2 (2002): 45. http://dx.doi.org/10.4267/2042/14440.

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13

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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14

Munday, Rod. "The Kubrick Cinematic UniverseMethod." Essais, Hors-série 4 (July 1, 2018): 141–56. http://dx.doi.org/10.4000/essais.728.

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15

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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16

Hunter, I. Q. "Introduction: Kubrick and Adaptation." Adaptation 8, no. 3 (October 26, 2015): 277–82. http://dx.doi.org/10.1093/adaptation/apv026.

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17

Polovinkina, O. I. "The representation of a body / artificial body in A. Burgess’ A Clockwork Orange and the film adaptation by S. Kubrick." Voprosy literatury, no. 3 (September 13, 2022): 98–117. http://dx.doi.org/10.31425/0042-8795-2022-3-98-117.

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The article discusses representations of a hybrid body in the novel A Clockwork Orange and its film adaptation by S. Kubrick. Both works examine a hybrid body as a symptom of the post-human state. The article proves that in his film, Kubrick makes use of the novel’s imagery and, rather than creating a radically different work, is engaged in interpretation of the source. The eloquent orange metaphor, chosen by Burgess for the book’s title, directly points to the literary theme at the heart of the novel: youth as a restless and lawless time. In the novel, these ideas are supported with Shakespeare and Yeats quotations. That the writer should have turned to the theme of youth is explained as his response to the youth subculture of the late 1950s — early 1960s which was associated with asocial experience. The quotation from Yeats still enjoys prominence in Kubrick’s film, which, however, was made at a later date when youth culture had already received plenty of self-reflective feedback and definitions. This may partly explain the differences in the approach to the representation of a hybrid body in the book vs. the film. The article defines the central theme that prompts the choice of the representation method: an artist that embodies the power of youth and creativity

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18

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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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

Zanotti, Serenella, Marileide Dias Esqueda, and Fernando Franqueiro Gomes. "Tradução para dublagem de autor, controle autoral e de performance nas versões dubladas dos filmes de Stanley Kubrick." Domínios de Lingu@gem 16, no. 1 (January 6, 2022): 327–61. http://dx.doi.org/10.14393/dl49-v16n1a2022-12.

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Stanley Kubrick foi um dos poucos diretores de cinema que desempenhou um papel ativo na criação de versões fílmicas em língua estrangeira. Após a produção e direção de Laranja Mecânica, ele escolheu pessoalmente o diretor de dublagem para todas as versões dubladas e desempenhou um papel ativo na escolha do elenco de vozes (CHIARO, 2007; NORNES, 2007). Analisando uma variedade de fontes, este capítulo visa ilustrar a gênese das versões dubladas dos filmes de Kubrick, enfatizando o papel do diretor de cinema e seu nível de intervenção no processo de produção. Argumentar-se-á que, ao supervisionar todos os aspectos do processo de dublagem, Kubrick conferiu um status especial aos lançamentos em língua estrangeira de seus filmes, que devem ser considerados como versões autorizadas, às quais foi imposta uma marca autoral extraordinariamente inequívoca.

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21

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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22

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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23

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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24

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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25

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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26

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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27

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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28

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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29

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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30

Viñas Limonchi, Manuel. "El objeto de diseño como paradigma fílmico: Una revisión a los principios creativos de La naranja mecánica." Arte, Individuo y Sociedad 33, no. 1 (October 20, 2020): 161–82. http://dx.doi.org/10.5209/aris.67612.

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El primer “pliegue” argumental que se produce en el metraje de La naranja mecánica (1971) coincide con el final de la secuencia que transcurre en la residencia de la Sra. Weathers. Concatenadas por una sucesión de fechorías a cargo de los Drugos, cada una de esas escenas se construye sobre un dominio visual en el que Kubrick, deliberadamente, “aísla al espectador [obligándolo] a establecer la conexión narrativa solo a través de la imagen” (Walker, 1975, p. 257). Una imagen que suscribe el valor del objeto de diseño desde su identidad gráfica, industrial y urbanística, para confortar la escenografía y la relevancia del relato. Metodológicamente, el patrimonio objetual de 2001: Una odisea del espacio (1968) se convierte aquí en un catalizador iconográfico de la narrativa visual que Kubrick aplicaría posteriormente sobre la “epidermis” de La naranja mecánica. Asimismo, el objeto de diseño, en su condición material o abstracta, alcanza en el presente estudio un protagonismo que se cuantifica en los impactos visuales registrados temporalmente en las escenas del fragmento intervenido. En suma, un análisis de contenido en torno al objeto como constructo fílmico, que evidencia —como resultado— la fascinación de Kubrick por el diseño en cualquiera de sus órdenes.

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31

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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32

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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Baxter, John. "William Gibson and the "Garage Kubrick"." Film International 1, no. 3 (March 2003): 32–35. http://dx.doi.org/10.1386/fiin.1.3.32.

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34

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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35

Peucker, Brigitte. "Kubrick and Kafka: The Corporeal Uncanny." Modernism/modernity 8, no. 4 (2001): 663–74. http://dx.doi.org/10.1353/mod.2001.0092.

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36

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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37

Moraes, Helvio. "O Iluminado: o gênero do horror na leitura de Stanley Kubrick." Revista Leitura, no. 54 (April 18, 2018): 148–63. http://dx.doi.org/10.28998/2317-9945.201454.148-163.

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Este artigo tem por objetivo investigar a leitura que Kubrick faz do gênero do horror, seja pela literatura, onde busca a fonte para o roteiro de seu filme, seja pelo diálogo que estabelece com outras produções cinematográficas do gênero. Partindo dos pressupostos de Fredric Jameson, Mikhail Bakhtin, e de estudiosos da obra do cineasta, como Randy Rasmussen, Mario Falsetto, Roberto Romano, Maria Sylvia Franco, entre outros, percebemos que, através do procedimento metagenérico – que esquiva-se de uma postura convencional, pela reflexão sobre a estrutura genérica que toma como objeto -, assim como pelo recurso a um elemento elíptico, Kubrick propõe uma inovação e um novo sentido para o gênero. DOI: 10.28998/2317-9945.2014v2n54p148-163

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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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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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Mamber, Stephen. "Parody, intertextuality, signature: Kubrick, DePalma, and Scorsese." Quarterly Review of Film and Video 12, no. 1-2 (January 1990): 29–35. http://dx.doi.org/10.1080/10509209009361337.

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Grinberg, Marat. "Stanley Kubrick: American Filmmaker by David Mikics." Jewish Film & New Media: An International Journal 9, no. 2 (September 2021): 254–56. http://dx.doi.org/10.1353/jfn.2021.0017.

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Aidar Prado, José Luiz. "De olhos abertos e fechados: estudo das narrativas de Schintzler e Kubrick." Revista FAMECOS 9, no. 18 (April 10, 2008): 50. http://dx.doi.org/10.15448/1980-3729.2002.18.3168.

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Nesse texto o autor faz uma análise das narrativas do livro Traumnovelle (de Schintzler), de 1926, e do filme Eyes wide shut (de Kubrick), de 1999, investigando como cada uma das obras constrói o estado do sonho.

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Kozłowski, Krzysztof. "„Jupiter and Beyond the Infinite”. 2001: Odyseja kosmiczna Stanleya Kubricka." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 27, no. 36 (December 15, 2020): 117–28. http://dx.doi.org/10.14746/i.2020.36.07.

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The article deals with the relationship between film and painting, as well as the sciences (physics, cosmology) of the 20th century. It introduces the historical context important for the time when Kubrick’s film was made, and addresses the issue of abstraction in cinema, contemporary painting and cosmology, confronting artistic and scientific ideas (the models of the Universe). The starting point for the detailed analysis was “autonomous abstract film” (Alicja Helman), which as a film inside a film combines various cinematic types and genres. The analysis of takes and sequences of this film inside a film made it possible to decipher the director’s idea, which is expressed in intra-film references. The particular results of the research were compared with the possible iconographic context (Gerhard Richter). The inclusion of a diagnosis obtained on the basis of materials examined in the Kubrick Archives in London (Kamil Kościelski), and references to cultural tradition (Plato), supplement the aforementioned considerations in an important way.

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Richards, Emerson. ""I get sort of carried away, being so normal and everything"." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 37–49. http://dx.doi.org/10.33178/alpha.4.03.

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This paper compares and analyses the differences between Lolita by Vladimir Nabokov (1955) and filmic versions by Stanley Kubrick (1962) and Adrian Lyne (1994), focusing on the respective characterisations of Clare Quilty, as mediated through his encounter with Humbert Humbert at a pivotal scene at the Enchanted Hunter’s Lodge. Following an in-depth analysis of the scene in question, the article then examines Kubrick’s Lolita, exploring the homosocial undertones of Peter Sellers’s Quilty, and the attendant commentary on heteronormative culture of late 1950s/early 1960s America. Finally, Lyne’s interpretation of this encounter will be analysed to discern how a menacing Quilty alters the narrative and deviates from the previous representations, updating the social commentary to incorporate a distinctly 1990s milieu in the process. Treating the two films as iterations and/or mutations of the original literature, the article proposes a comparatist-driven analysis to discern each artist’s intentions toward the narrative as exemplified by this crucial meeting of minds.

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Monteiro, Mauricio. "Timbres: a poética do som." Revista Científica/FAP 27, no. 2 (December 16, 2022): 304–27. http://dx.doi.org/10.33871/19805071.2022.27.2.6927.

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O filme Barry Lyndon de Stanley Kubrick (1975), tornou-se mais uma das obras de referências do cinema. A trilha é impecável, com obras que vão do barroco ao romantismo, além de músicas tradicionais dos países envolvidos na Guerra dos 7 Anos. De Handel a Vivaldi, de Schubert a Rossini e das tradicionais e oficiais músicas irlandesas, como Women of Ireland e prussiana como Lilliburlero, Pfifes and Drums - o que pode ser ouvido no filme de Kubrick é uma polifonia de timbres. A Sarabanda, provavelmente composta entre 1703 e 1706, de Georg Friedrich Handel é um caso particularmente muito atrativo, pois além de funcionar como uma espécie de leitmotiv de momentos do protagonista, utiliza timbres diferentes em todas as suas entradas. A sarabanda ainda tem um recurso técnico importante que, que sugere ao espectador momentos de tensão, apreensão e continuidade: a anacruse. Esse recurso é normalmente utilizado em música e, como trilha, torna-se um fator imprescindível para a tensão antes dos dois duelos.

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Pérez Romero, Enrique. "fotografía de Stanley Kubrick como espacio de innovación epistemológica." Fotocinema. Revista Científica de Cine y Fotografía, no. 28 (January 26, 2024): 219–44. http://dx.doi.org/10.24310/fotocinema.28.2024.17601.

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La obra fotográfica de Stanley Kubrick ha sido históricamente opacada por el enorme prestigio de sus películas. Un análisis exhaustivo de todo su trabajo (fílmico y fotográfico), bajo una nueva perspectiva en que las artes mecánicas han de ser situadas en el centro del continuum artes plásticas-artes mecánicas-cultura de masas, evidencia la importante potencialidad innovadora, epistemológicamente hablando, de sus fotografías. Esta capacidad heurística se concentra en varios aspectos: a) el estudio de su fotografía como expresión artística de una pulsión creativa inicialmente indefinida o genérica; b) la importancia de la fotografía en el ámbito de la estética comparada; c) el desempeño fotográfico como base fundamental para su posterior trabajo cinematográfico; y d) la relevancia de la cultura de masas en estos ámbitos creativos y artísticos. Esta capacidad explicativa de la fotografía de Kubrick puede extrapolarse como método analítico bajo la evolución de la civilización de la imagen-masa, fase última de la cultura de masas.

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León, Arima. "Poslolitismo: el legado de Lolita en el cine indie del siglo XXI = Post-lolitism: the Lolita’s Legacy in the XXI’s Indie Cinema." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 2 (August 1, 2018): 144. http://dx.doi.org/10.20318/femeris.2018.4328.

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Resumen. En este trabajo realizo un recorrido a la inversa desde las películas La Belle Personne (Christophe Honoré, 2008), Fish Tank (Andrea Arnold, 2009) y The Diary of a Teenage Girl (Marielle Heller, 2015), hasta llegar a su germen: Lolita (1955), novela escrita por Vladimir Nabokov y adaptada a la gran pantalla por Stanley Kubrick en 1962. A partir de esta conexión, analizo los aspectos definitorios de esta nueva poslolita, enmarcando el personaje en un viaje narrativo concreto y un discurso feminista consciente. El viaje consta de tres momentos clave: una primera toma de contacto, el encuentro sexual y la liberación de la situación de opresión. En cuanto al discurso feminista, este revisa la figura de las poslolitas como objeto de deseo, además de la relación con el adulto y la iniciación sexual de las jóvenes. Estas tres películas suponen la reinterpretación del mito que Kubrick crea en su filme. Asimismo, esta nueva lectura del lolitismo se entiende a partir de la apropiación femenina de un discurso que ha sido explotado casi en exclusivo por hombres. Esto, sumado a la manifestación de no depender de la figura masculina para alcanzar la felicidad, hacen de The Diary of a Teenage Girl la máxima expresión de esta nueva poslolita. Palabras clave: Feminismo, cine, indie, Lolita, Nabokov. Abstract. La Belle Personne (Christophe Honoré, 2008), Fish Tank (Andrea Arnold, 2009) and The Diary of a Teenager (Marielle Heller, 2015), up to its germ: Lolita (1955), a novel written by Vladimir Nabokov and adapted to the great screen by Stanley Kubrick in 1962. From this connection, I analyze the final aspects of this new postlolita, framing the character in a concrete narrative journey and a conscious feminist discourse. The trip consists of three key moments: a first contact, the sexual encounter and the liberation from the situation of oppression. As for the feminist discourse, it reviews the figure of the postlitas as an object of desire, in addition to the relationship with the adult and the sexual initiation of young people. These three movies suppose the reinterpretation of the myth that Kubrick creates in his film. Also, this new reading of lolistism refers to the feminine appropriation of a discourse that has been exploited almost exclusively by men. This, added to the manifestation of not depending on the male figure to achieve happiness make The Diary of a teenager the ultimate expression of this new postlolita. Keywords: Feminism, film, indie, Lolita, Nabokov.

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Batcho, James. "Kubrick’s audible bodies: unseen subjectivities in 2001 and The Shining." Semiotica 2021, no. 243 (November 1, 2021): 281–303. http://dx.doi.org/10.1515/sem-2020-0105.

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Abstract Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay applies Gilles Deleuze’s semiotic concepts of cinema, metaphysics, and subjectivity to conditions of audibility and unseeing, a connection Deleuze largely ignored in his writings. These dual concepts of audibility and unseeing break prevailing analytical norms in cinema discourse that affirm limitations via material, visual, textual, and spatial reification: subjective-objective delineations, the body and the gaze, sound as necessarily spatial/material, and the dominance of images in regard to aesthetics, surveillance, and evidence. Instead, this essay moves through Kubrick’s constructions of milieu that are unseen in the midst of an otherwise visual unfolding, and audible in the midst of an otherwise sonic unfolding. To consider Kubrick’s films through their audible embodiment, one must detach (1) the microphone from its adherence to space, (2) the body from its visual gaze. Here, sounds, images, and objects become secondary to hearing and signs in a temporal unfolding, resulting in a cinema that is experiential rather than representational. This opens to an actuality of spirit within the world of the film, offering new opportunities for creativity in the cinematic form.

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ÜNVER, Büşra. "Kubrick Sinemasında Tekinsiz Bir Muğlak Mekân: Overlook Oteli." Kocaeli Üniversitesi Mimarlık ve Yaşam Dergisi 5, no. 2 (December 31, 2020): 487–515. http://dx.doi.org/10.26835/my.726152.

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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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