Screen Studies
Loading
Kubrick’s Total Cinema

Kubrick’s Total Cinema: Philosophical Themes and Formal Qualities

by Philip Kuberski

Philip Kuberski is Professor of English at Wake Forest University and the author of three books and a number of essays on modern literature and its relations to science, technology, and mythology. Author affiliation details are correct at time of print publication.

Search for publications
Continuum, 2012
  • DOI:
    10.5040/9781628928785
  • ISBN:
    9781441156877 (hardback)

    9781628928785 (online)
  • Edition:
    First edition
  • Place of Publication:
    London
Kubrick’s Total Cinema
Collapse All Sections

Whatever people think about Kubrick’s work, most would agree that there is something distinctive, even unique, about the films he made: a coolness, an intellectual clarity, a critical edginess, and finally an intractable ambiguity. In an attempt to isolate the Kubrick difference, this book treats Kubrick’s films to a conceptual and formal analysis rather than a biographical and chronological survey.

As Kubrick’s cinema moves between the possibilities of human transcendence dramatized in 2001: A Space Odyssey and the dismal limitations of human nature exhibited in A Clockwork Orange, the filmmaker’s style “de-realizes” cinematic realism while, paradoxically, achieving an unprecedented frankness of vision and documentary and technical richness. The result is a kind of vertigo: the audience is made aware of both the de-realized and the realized nature of cinema. As opposed to the usual studies providing a summary and commentary of individual films, this will be the first to provide an analysis of the “elements” of Kubrick’s total cinema.