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Stanley Kubrick

Ryan Gilbey

RYAN GILBEY writes on film for the Independent, the Guardian, and Sight and Sound and is author of It Don’t Worry Me (2004). 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...

Afterthoughts

James Naremore

JAMES NAREMORE is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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On Kubrick

British Film Institute, 2007

Book chapter

...In the absence of a total synthesis or a key to Kubrick’s work, which I believe would be impossible, it may be useful to offer some remarks on the themes that have emerged from this study. From the beginning I’ve emphasised that Kubrick...

Dream City

James Naremore

JAMES NAREMORE is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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On Kubrick

British Film Institute, 2007

Book chapter

...Soon after Fear and Desire opened in New York, Kubrick set out to make another low-budget feature under the auspices of his own company, which he dubbed ‘Minotaur Productions’. In July 1953, via legal representatives, he submitted a script...

‘I’m Sorry Dave, I’m Afraid I Can’t Do That’: Artificial Intelligence in 2001: A Space Odyssey (1968)

Andrew Utterson

Andrew Utterson is Senior Lecturer in Film and Digital Media at Canterbury Christ Church University, UK. He is the editor of Technology and Culture (2005) and co-editor of Film Theory (2004). Author affiliation details are correct at time of print publication.

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From IBM to MGM : Cinema at the Dawn of the Digital Age

British Film Institute, 2011

Book chapter

...If the art and technology movement had sought to infuse the computer with human values, Stanley Kubrick projected a machine that might one day supplant human beings. In the late 1960s, building on research in the area of computer science...

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

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...

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...

Ant Hill

James Naremore

JAMES NAREMORE is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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On Kubrick

British Film Institute, 2007

Book chapter

...There are vexed questions of authorship surrounding Paths of Glory, but everyone agrees that the film originated with Kubrick during his abortive stay at MGM in the mid-1950s, when he proposed to James Harris that they adapt a novel Kubrick...

The Criminal and the Artist

James Naremore

JAMES NAREMORE is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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On Kubrick

British Film Institute, 2007

Book chapter

...French critics Raymond Borde and Etienne Chaumeton once argued that most examples of film noir are told more or less from the perspective of criminals or psychopaths. If we accept this argument, several of Kubrick’s movies have something...

No Other Country but the Mind

James Naremore

JAMES NAREMORE is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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On Kubrick

British Film Institute, 2007

Book chapter

...Fear and Desire, Kubrick’s first feature, is seldom exhibited and therefore merits a brief plot summary for those who haven’t seen it. As the film opens, four soldiers have crashed their plane behind enemy lines in an unnamed, abstract war....

Lolita (1963)

Mark Axelrod

Mark Axelrod is a Full Professor of English & Comparative Literature, and Director of the John Fowles Center for Creative Writing, at Chapman University, USA. Author affiliation details are correct at time of print publication.

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Constructing Dialogue : Screenwriting From Citizen Kane to Midnight in Paris

Bloomsbury Academic, 2014

Book chapter

...Screenplay by Vladimir Nabokov and Stanley KubrickI’ve chosen this scene since it’s actually the one that initiates the entire film even though it doesn’t occur until much later in the film. It is the scene that opens with Humbert...