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Stanley Kubrick

Ryan Gilbey

Ryan Gilbey is a freelance film journalist and writes for a variety of publications, including Sight & Sound, the Guardian, Observer and the Sunday Times. He is the former film critic for the Independent. It Don’t Worry Me is his first book. Author affiliation details are correct at time of print publication.

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It Don’t Worry Me : Nashville, Jaws, Star Wars and beyond

Faber and Faber, 2003

Book chapter

...Making Barry Lyndon (1975): Stanley Kubrick directs Ryan O’Neal (as Redmond Barry) and Pat Roach (Toole). Barry Lyndon: the Chevalier de Balibari (Patrick Magee) and Redmond Barry (Ryan O’Neal)....

The Auteurist Special Effects Film: Kubrick’s 2001: A Space Odyssey (1968) and the ‘Single-Generation Look’

Julie Turnock

Julie Turnock

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The Hollywood Renaissance : Revisiting American Cinema’s Most Celebrated Era

Bloomsbury Academic, 2018

Book chapter

...A film technician watching 2001 cannot help but be impressed by the fact that the complex effects scenes have an unusually sharp, crisp and grain-free appearance – a clean ‘single-generation look’ to coin a phrase. [. . .] The circumstance...

Early Works (1966–1988)

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book chapter

...As discussed, Kieślowski began in documentaries, and this experience exerted considerable influence on his feature filmmaking. What is most clear is that Kieślowski appreciated the immediate powers of the image, even as he debated its...

The Later Features (1991–1994)

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book chapter

...This final chapter discusses the films that epitomize Kieślowski’s metaphysically aimed formalism. Much of the discussion in Chapter 2 center on these last four films, so this chapter will not discuss form in the same detail, even though...

2001: A Space Odyssey (GB/ US, 1968): The Long Voyage to Destiny

Philip Gillett

Philip Gillett is an independent film critic and writer and author of The British Working Class in Postwar Film. Author affiliation details are correct at time of print publication.

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Movie Greats : A Critical Study of Classic Cinema

Berg, 2008

Book chapter

...Production company: MGMProducer/ Director: Stanley KubrickScreenplay: Stanley Kubrick, Arthur C. ClarkeSource: Arthur C. Clarke (short story: ‘The Sentinel’)Photography: Geoffrey UnsworthProduction design: Tony Masters, Harry Lange, Ernie...

The Decalogue (Ten film series, 1988)

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book chapter

...These ten films, released in 1988, function as a watershed moment in Kieślowski’s career. Many demonstrate the formal emphasis that will fully characterize his work after 1988. Some films hearken back to the more subdued...

Untimely Cinema: Barry Lyndon and the 1970s

Maria Pramaggiore

Maria Pramaggiore is Head of Media Studies at the National University of Ireland at Maynooth. She has published four books, two on Irish cinema, and one a co-authored textbook, Film: A Critical Introduction (2011; with Tom Wallis), now in its third edition. Author affiliation details are correct at time of print publication.

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Making Time in Stanley Kubrick’s Barry Lyndon : Art, History, and Empire

Bloomsbury Academic, 2015

Book chapter

...Perhaps when everything is beautiful, nothing is beautiful.The preceding chapters have explored key aspects of the discourse of temporality within Barry Lyndon (1975), including the way it counters narrative sequence with a disruptive...

Immediacy, Abstraction, and Transcendence

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book chapter

...However formidable Kieślowski’s screenwriting talents, the elements that make his work truly great are most resistant to verbal description. This chapter precedes the readings of his films precisely because one must have a sense...

Adapting Barry Lyndon: A Tale of Two Auteurs

Maria Pramaggiore

Maria Pramaggiore is Head of Media Studies at the National University of Ireland at Maynooth. She has published four books, two on Irish cinema, and one a co-authored textbook, Film: A Critical Introduction (2011; with Tom Wallis), now in its third edition. Author affiliation details are correct at time of print publication.

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Making Time in Stanley Kubrick’s Barry Lyndon : Art, History, and Empire

Bloomsbury Academic, 2015

Book chapter

...A great narrative is a kind of miracle.[Stanley Kubrick] thought that Thackeray was better than any screenwriter alive.Stanley Kubrick “aspired to be the novelist of American filmmakers,” according to Robert Kolker (97). His films have been...

Afterword

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book chapter

...The French critic Vincent Amiel shares my admiration for the final image of the judge in Red,See Chapter 2 for a still image of this shot. but for slightly different reasons. Amiel sees the broken window as an image of surrender, a symbol...