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Literatura académica sobre el tema "Kubrick"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Kubrick"

Piskorz, Artur. "Aryan Papers: The Polish Connection". Media - Kultura - Komunikacja Społeczna 2, n.º 12 (13 de febrero de 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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Hoff, Dogmar Von y Claudia Dornbusch. "Mundos artísticos em diálogo: literatura de expressão alemã e cinema". Aletria: Revista de Estudos de Literatura 8 (2 de marzo de 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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Zanotti, Serenella. "Translaboration in a film context". Target. International Journal of Translation Studies 32, n.º 2 (1 de julio de 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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Hye-Knudsen, Marc. "Dr. Strangelove and the Psychology of Comic Distance". Projections 16, n.º 2 (1 de junio de 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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Veríssimo, Fernando. "Stanley Kubrick". Sinopse (São Paulo) 1, Zero (7 de abril de 1999): 25. http://dx.doi.org/10.11606/issn.1807-8907.v1izerop25-25.

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ABRAMS, NATHAN. "A Jewish American Monster: Stanley Kubrick, Anti-Semitism and Lolita (1962)". Journal of American Studies 49, n.º 3 (12 de noviembre de 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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Fitzgerald, Lara y Christopher James Keep. "Barry Lindon démembré : la perte de l’histoire dans le film de Stanley Kubrick". Cinémas 4, n.º 1 (16 de diciembre de 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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Shaw, Dan. "Kubrick Contra Nihilism". Film and Philosophy 9 (2005): 68–73. http://dx.doi.org/10.5840/filmphil200599.

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Cherchi Usai, Paolo. "Kubrick as Architect". Cinémas 9, n.º 1 (26 de octubre de 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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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 (20 de septiembre de 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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Tesis sobre el tema "Kubrick"

Powell, Jeremy Cante Richard C. "Bersani avec Kubrick". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1066.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Communication Studies." Discipline: Communication Studies; Department/School: Communication Studies.

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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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Vacirca, Silvia <1981&gt. "Stanley Kubrick: architetture dello spazio". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3058/1/vacirca_silvia_tesi.pdf.

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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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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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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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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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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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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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Libros sobre el tema "Kubrick"

Herr, Michael. Kubrick. London: Picador, 2001.

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Herr, Michael. Kubrick. New York: Grove Press, 2000.

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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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Stanley, Kubrick, Deutsches Filmmuseum Frankfurt am Main. y Deutsches Architekturmuseum, eds. Stanley Kubrick. Frankfurt am Main: Deutsches Filmmuseum, 2004.

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Piero, Brunetta Gian, ed. Stanley Kubrick. Venezia: Marsilio, 1999.

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

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

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Stanley, Kubrick, Deutsches Architekturmuseum y Deutsches Filmmuseum Frankfurt am Main., eds. Stanley Kubrick. Frankfurt am Main: Deutsches Filmmuseum ; Deutsches Architektur Museum, 2004.

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Broderick, Mick, ed. The Kubrick Legacy. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429059728.

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Capítulos de libros sobre el tema "Kubrick"

Marinaccio, James. "Kubrick". En The Kubrick Legacy, 67–87. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429059728-6.

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Perko, Manca. "Dramatizing Kubrick". En The Kubrick Legacy, 52–66. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429059728-5.

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Mee, Laura. "Kubrick and Horror". En The Shining, 17–34. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325444.003.0002.

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This chapter discusses Stanley Kubrick's relationship with the horror genre. The Shining (1980) is a clear example of Kubrick's status as ‘an artist of complex and popular work’—rather than being exclusively one or the other. Many approaches to understanding the film see it as a ‘serious’ work by a master filmmaker operating without commercial imperative, or elevated above a disreputable genre. This overlooks a number of important contextual considerations, not least the fact that Kubrick had been clear in asserting that he wanted to make a supernatural film and liked a number of horror films. Moreover, Kubrick, whose films ‘repeatedly mix the grotesque and the banal, the conventions of Gothic confessional morbidity and the self-conscious involutions of modernist parody’, was ideally placed to make a horror film. If The Shining is in many ways typical of the Kubrickian style, then it surely follows that the Kubrickian style was ideal for horror. His auteurist style—the use of black comedy, his artistic approach to mise-en-scène and cinematography, an interest in the uncanny—all lend themselves to the genre.

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"Researching Kubrick". En The Bloomsbury Companion to Stanley Kubrick. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781501343643.pt-005.

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"Stanley Kubrick". En Letters from Hollywood, 191–97. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438477657-022.

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"Early Kubrick". En On Kubrick. The British Film Institute, 2023. http://dx.doi.org/10.5040/9781839024030.ch-002.

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"Late Kubrick". En On Kubrick. The British Film Institute, 2023. http://dx.doi.org/10.5040/9781839024030.ch-005.

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Kolker, Robert P. y Nathan Abrams. "“It’s Probably Going to Be the Hardest Film to Make”". En Eyes Wide Shut, 13–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678029.003.0002.

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Stanley Kubrick wanted to film Arthur Schnitzler’s Traumnovelle since the early 1950s. His interest lay in Schnitzler’s fascination with sexuality and domesticity. The intersection of Schnitzler’s writings with those of Sigmund Freud was of particular interest. Kubrick’s favorite director, Max Ophüls, had adapted some of Schnitzler’s plays, and this also attracted the author to Kubrick. Even though he kept putting off the making of the film, its ideas percolated into those films he did make, from Fear and Desire through The Shining. During this long period of gestation, Kubrick entertained many ideas for writers and stars. At one point, he wanted to make it as a comedy. Only after the failure to get his Holocaust film or his science fiction film, A.I.: Artificial Intelligence, made did he finally turn to directing Eyes Wide Shut.

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Mamber, Stephen. "Kubrick in Space". En Stanley Kubrick's 2001: A Space Odyssey: New Essays, 55–68. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195174533.003.0005.

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Abstract The pretentiousness of 2001: A Space Odyssey has been a considerable obstacle to appreciating its status as masterpiece. The collaboration with Arthur C. Clarke and Kubrick’s own statements about the film have obviously obscured how deeply it connects to the rest of his work. The diversion provided by the film’s technologies that has led to enjoyable but incidental books like HAL’s Legacy makes it too easily the Kubrick movie to talk about by people who don’t know much about movies.1 Pondering such issues as the meaning of the monolith, whether HAL is really IBM a letter-back-each, or Bowman’s journey to star child has kept 2001 criticism in an interpretive dead end for a long time.

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"From Kubrick’s Political Icon to Television Sex Symbol". En STARZ Spartacus, editado por Nuno Simões Rodrigues. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407847.003.0003.

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This chapter starts from the iconic 1960 Stanley Kubrick film version of Spartacus and it compares it with the other version to demonstrate how in the Kubrick version the political and ideological nature of the Spartacus figure re-emerges in the twenty-first century, reinvented and far more sexualized than its predecessor. STARZ Spartacus, the chapter argues, has an altogether different set of objectives, placing special emphasis on the glorified and eroticized image of mostly male—but also female—bodies. This chapter concludes that Kubrick's Spartacus is transformed from a political icon, representing freedom, equality, and independence, into a new Spartacus who also becomes the image of a hypersexualized masculinity.

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Actas de conferencias sobre el tema "Kubrick"

Fórmico, Marcela Regina. "A arena da ilusão: a representação do gladiador dentro da linguagem cinematográfica - Spartacus (Stanley Kubrick, 1960) e Gladiador (Ridley Scott, 2000)". En Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3928.

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A presente pesquisa estuda a representação da figura do gladiador dentro da linguagem cinematográfica a partir de uma análise comparativa entre dois filmes, Spartacus (Stanley Kubrick, 1960) e Gladiador (Ridley Scott, 2000). Oestudo se baseia na relação entre cinema e história proposta por Marc Ferro, segundo a qual o filme ultrapassa o seu caráter de obra de arte para ser um produto das relações sócio-históricas, e alia-se ao trabalho de Edgar Morin sobre as características de projeção e identificação presentes na relação do público com as imagens projetadas no écran, assim como no processo de construção destas imagens. Por fim, busca entender como uma imagem de Antigüidade é reconstruída e compreendida dentro de concepções que estão presentes na atualidade.

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Bouchet, Marie y Yves Iehl. "La poétique du masque — De la «Nouvelle rêvée» d’Arthur Schnitzler au film de Stanley Kubrick, Eyes Wide Shut". En Territoires du récit bref. De l'image dans la fiction à l'imaginaire en science-fiction. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5265.

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Greff, Klaus, Francois Belletti, Lucas Beyer, Carl Doersch, Yilun Du, Daniel Duckworth, David J. Fleet et al. "Kubric: A scalable dataset generator". En 2022 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2022. http://dx.doi.org/10.1109/cvpr52688.2022.00373.

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Kokkidou, May, Christina Tsigka y Ifigeneia Vamvakidou. "MUSIC IN FILM SEMIOSPHERE: RECONSIDERING KUBRICK’S 2001: A SPACE ODYSSEY". En New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-099.

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Shi, Weijia, Xiaochuang Han, Hila Gonen, Ari Holtzman, Yulia Tsvetkov y Luke Zettlemoyer. "Toward Human Readable Prompt Tuning: Kubrick’s The Shining is a good movie, and a good prompt too?" En Findings of the Association for Computational Linguistics: EMNLP 2023. Stroudsburg, PA, USA: Association for Computational Linguistics, 2023. http://dx.doi.org/10.18653/v1/2023.findings-emnlp.733.

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Mao, Jiangnan y Guorong Zuo. "Modeling Method of FLAC3D Based on RHINO-KUBRIX and Deformation Analysis of Tunnel Lining Structure". En 4th International Conference on Renewable Energy and Environmental Technology (ICREET 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icreet-16.2017.87.

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