4 5 — Contents — “Stanley Kubrick and the Search for Extraterrestrial Intelligence” Anthony Frewin 418 Contents Contents “Filming 2001: A Space Odyssey” Herb A. Lightman 426 “Front Projection for 2001: A Space Odyssey” Herb A. Lightman 448 “Fiction & Fact” 454 “Music in 2001: A Space Odyssey” Gene D. Phillips 460 PREFace Alison Castle 6 “Interpretations of 2001: A Space Odyssey” Margaret Stackhouse 466 EARLY WORK 8 A CLOCKWORK ORANGE 1971 478 “Early Work” Gene D. Phillips 12 “A Clockwork Orange” Michel Ciment 490 “Young Man With Ideas and a Camera” Thomas M. Pryor 42 “Letter to the Editor of The New York Times” Stanley Kubrick 520 “Modern Times: An Interview with Stanley Kubrick” 526 KILLEr’s KISS 1955 46 Philip Strick and Penelope Houston “Killer’s Kiss” Gene D. Phillips 56 baRRY LYNDON 1975 552 THE KILLING 1956 80 “Barry Lyndon” Rodney Hill 562 “The Killing“ Gene D. Phillips 88 “Interview with Stanley Kubrick” Michel Ciment 602 PATHS OF GLORY 1957 116 THE SHINING 1980 614 “Paths of Glory” Gene D. Phillips 126 “The Shining” Rodney Hill 626 “Good Morning Mr. Kubrick” Raymond Haine 158 “An interview with Stanley Kubrick” Vicente Molina Foix 670 “Conversation with Stanley Kubrick” Jay Varela 166 FULL METAL JacKET 1987 684 SpaRTacUS 1960 174 “Full Metal Jacket” Rodney Hill 694 “Spartacus” Gene D. Phillips 184 “Stanley Kubrick’s Vietnam” Danièle Heymann 730 “Director’s Notes” Stanley Kubrick 216 EYES WIDE SHUT 1999 744 LOLITA 1962 222 “Eyes Wide Shut” Rodney Hill 754 “Lolita” Gene D. Phillips 232 “Words and Movies” Stanley Kubrick 272 PROJECTS 784 “An Interview with Stanley Kubrick” Terry Southern 276 “The Epic That Never Was: Stanley Kubrick’s ‘Napoleon’” Gene D. Phillips 786 “Stanley Kubrick’s ‘A. I.’” Alison Castle 804 DR. STRANGELOVE, OR: HOW I LEARNED TO STOP 290 “From Wartime Lies to ‘Aryan Papers’” Jan Harlan 816 WORRYING AND LOVE THE BOMB 1964 “Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb” 300 CHRONOLOGY 820 Gene D. Phillips “Chronology” Vincent LoBrutto 822 “How I Learned to Stop Worrying and Love the Cinema” Stanley Kubrick 348 “Stanley Kubrick and Joseph Heller: A Conversation” 354 “D. W. Griffith and His Wings of Fortune” Stanley Kubrick 852 Bibliography 856 2001: A Space ODYSSEY 1968 368 Acknowledgements / Credits 859 “Outline” Carolyn Geduld 380 “The Production: A Calendar” Carolyn Geduld 400 Imprint 864 001-007_KUBRICK_ARCHIVES_HC_BU_LITHO_45439.IND75001-007_KUBRICK_ARCHIVES_HC_BU_GB_45439.IND75 4 4 05.04.1611.05.16 15:4715:48 001-007_KUBRICK_ARCHIVES_HC_BU_LITHO_45439.IND75001-007_KUBRICK_ARCHIVES_HC_BU_GB_45439.IND75 5 5 05.04.1611.05.16 15:4715:48.

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Your Shabbat Edition • August 21, 2020
YOUR SHABBAT EDITION • AUGUST 21, 2020 Stories for you to savor over Shabbat and through the weekend, in printable format. Sign up at forward.com/shabbat. GET THE LATEST AT FORWARD.COM 1 GET THE LATEST AT FORWARD.COM News Colleges express outrage about anti- Semitism— but fail to report it as a crime By Aiden Pink Binghamton University in upstate New York is known as including antisemitic vandalism at brand-name schools one of the top colleges for Jewish life in the United known for vibrant Jewish communities like Harvard, States. A quarter of the student population identifies as Princeton, MIT, UCLA and the University of Maryland — Jewish. Kosher food is on the meal plan. There are five were left out of the federal filings. historically-Jewish Greek chapters and a Jewish a Universities are required to annually report crimes on capella group, Kaskeset. their campuses under the Clery Act, a 1990 law named When a swastika was drawn on a bathroom stall in for 19-year-old Jeanne Clery, who was raped and Binghamton’s Bartle Library in March 2017, the murdered in her dorm room at Lehigh University in administration was quick to condemn it. In a statement Pennsylvania. But reporting on murders is far more co-signed by the Hillel director, the school’s vice straightforward, it turns out, than counting bias crimes president of student affairs said bluntly: “Binghamton like the one in the Binghamton bathroom. University does not tolerate hate crimes, and we take all instances of this type of action very seriously.” Many universities interpret the guidelines as narrowly as possible, leaving out antisemitic vandalism that But when Binghamton, which is part of the State would likely be categorized as hate crimes if they University of New York system, filed its mandatory happened off-campus.
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The Case of Kubrick's Eyes Wide Shut
ALESSANDRO GIOVANNELLI Cognitive Value and Imaginative Identification: The Case of Kubrick’s Eyes Wide Shut A decade after its release, Stanley Kubrick’s Eyes the experiences of imaginative engagement a film Wide Shut (1999) remains an enigmatic film, with promotes. Indeed, in the course of my discussion, respect to its meaning and, especially, its value. I also raise some general concerns with respect to Undoubtedly, through the years, much of the dis- a widespread tendency of locating a film’s possible agreement on the film’s overall quality has faded, cognitive contributions just in what the work con- and few would still subscribe to Andrew Sarris’s veys, while disregarding the experience it invites “strong reservations about its alleged artistry.”1 the spectator to have. Yet the precise source of the value of Kubrick’s I start by presenting a number of possible inter- last film still remains mysterious, at least judg- pretations of this film and show how they all do not ing from the disparate interpretations it contin- quite explain the film’s enigma (Section I). Then ues to receive. More importantly, it is certainly I argue that those interpretations all fail, to an ex- not an uncommon reaction—among my acquain- tent—and for reasons that are general and instruc- tances for example—to experience a certain sense tive—to fully account for the film’s cognitive value of puzzlement when viewing the film, one that (Section II). Hence I offer what seems to me the none of the standard interpretations seems to dis- best explanation of what the enigma of Eyes Wide sipate fully.2 In sum—certainly modified since the Shut amounts to, and of how, once properly identi- time of its inception, but also strengthened by the fied, the source of viewers’ persistent puzzlement decade that has passed—some enigma regarding coincides with one important source of the film’s Eyes Wide Shut does persist, and it is one that is value (Sections III–IV).
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The Operation of Cinematic Masks in Stanley Kubrick’S Eyes Wide Shut
(d) DESIRE AND CRISIS: THE OPERATION OF CINEMATIC MASKS IN STANLEY KUBRICK’S EYES WIDE SHUT STEPHANIE MARRIOTT Université de Paris VIII In analyzing Stanley Kubrick’s 1999 film Eyes Wide Shut, Michel Chion acknowledges the potential pitfalls of such analysis through a comparison to the policemen in Edgar Allen Poe’s short story “The Purloined Letter,” who despite thorough investigation, fail to see what is before their eyes (Chion, 2005: 450). Chion’s analogy is particularly suited for this film, whose title alludes to the process of attempting to see clearly, and yet failing to see. Chion uses this comparison to suggest that Kubrick’s film concerns the idea that perception is but an illusion, and certainly this is a question that the film addresses, as the primacy of dreams and fantasies in this text put into question where reality is situated. The novella on which the film was based (or “inspired” as the end credits indicate), Arthur Schnitzler’s Traumnovelle (1926) or Dream Story in the English translation, concerns these very questions, which are elaborated notably in the novella not only by how dreams and fantasies are recounted, but also by the use of interior monologue, used to demonstrate the main character’s confusion between dream and reality. Kubrick’s adaptation of the material to filmic form addresses an additional question that concerns the cinema directly: where in the cinematic medium are frontiers between reality and dream, fact and fiction? However, there is an essential concept that is missing from this equation, one that is central to both the novella and Kubrick’s film: that of desire.
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ENGLISH DOSSIER DE PRESSE Stanley Kubrick
“If it can be written, or thought, it can be filmed. A director is a kind of idea and taste machine ; a movie is a series of creative and technical decisions, and it‘s the director‘s job to make the right decisions as frequently as possible.” EDITORIAL Our flagship exhibition in 2011 is devoted to Stanley Kubrick (from 23 March to 31 July). It is the first time that La Cinémathèque française hosts a travelling exhibition not initiated by our teams but by those of another institution. This Kubrick exhibition owes its existence to the Deutsches Filmmuseum in Frankfurt and to Hans- Peter Reichmann, its Curator, who designed it in 2004 in close collaboration with Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive in London. Since 2004, the exhibition has opened with success in several cities: Berlin, Zurich, Gand, Rome and Melbourne, before coming to the Cinémathèque. The archives of Stanley Kubrick contain numerous and precious working documents: scenarios, correspondences, research documents, photos of film shoots, costumes and accessories. The exhibition, film after film, includes the unfinished projects: the Napoleon that Kubrick hoped to direct and his project for a film on the death camps, Aryan Papers . These materials allow us to get backstage and better understand the narrative and technical intentions of the director who was a demigod of world cinema, a secret and fascinating figure. The exhibition will be installed on two floors of the Frank Gehry building, on the 5 th and 7 th storeys, owing to the bulk of the materials exhibited, including large-scale models and interactive digital installations.
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A Space Odyssey
THE JOURNAL OF FILM MUSIC VOLUME 2, NUMBER 1, FALL 2007 PAGES 1–34 ISSN 1087-7142 CO P YRIGH T © 2007 THE IN T ERNA T IONAL FILM MUSIC SOCIE T Y , INC . “Stanley Hates This But I Like It!”: North vs. Kubrick on the Music for 2001: A Space Odyssey Paul A. merkley, frsc n 1968 Stanley Kubrick Kubrick’s compilation score and the inadequate for the film. With premiered his landmark controversial rejection of North’s the premiere looming up, I had no time left even to think about I science-fiction film on the music have excited considerable another score being written, dawn of human consciousness discussion in the intervening years. and had I not been able to use and its future.1 2001: A Space Most commentators have based the music I had already selected Odyssey astonished its audience their remarks on the premise that for the temporary tracks I don’t know what I would have done. with elaborate sets, an enigmatic the director became so enamored plot, and stunning music with his “temp track”—the presented “in the open.”2 Instead excerpts of classical music he The composer’s agent phoned Robert O’Brien, the then head of accompanying his imaginative was using as placeholders for the of MGM, to warn him that if and painstakingly processed screen eventual score while filming and I didn’t use his client’s score images with the music that he had doing rough editing—that he could the film would not make its commissioned from the eminent not accept North’s music.
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Stanley Kubrick at the Interface of Film and Television
Essais Revue interdisciplinaire d’Humanités Hors-série 4 | 2018 Stanley Kubrick Stanley Kubrick at the Interface of film and television Matthew Melia Electronic version URL: http://journals.openedition.org/essais/646 DOI: 10.4000/essais.646 ISSN: 2276-0970 Publisher École doctorale Montaigne Humanités Printed version Date of publication: 1 July 2018 Number of pages: 195-219 ISBN: 979-10-97024-04-8 ISSN: 2417-4211 Electronic reference Matthew Melia, « Stanley Kubrick at the Interface of ﬁlm and television », Essais [Online], Hors-série 4 | 2018, Online since 01 December 2019, connection on 16 December 2019. URL : http:// journals.openedition.org/essais/646 ; DOI : 10.4000/essais.646 Essais Stanley Kubrick at the Interface of film and television Matthew Melia During his keynote address at the 2016 conference Stanley Kubrick: A Retrospective1 Jan Harlan2 announced that Napoleon, Kubrick’s great unrea- lised project3 would finally be produced, as a HBO TV mini-series, directed by Cary Fukunaga (True Detective, HBO) and executively produced by Steven Spielberg. He also suggested that had Kubrick survived into the 21st century he would not only have chosen TV as a medium to work in, he would also have contributed to the contemporary post-millennium zeitgeist of cinematic TV drama. There has been little news on the development of the project since and we are left to speculate how this cinematic spectacle eventually may (or may not) turn out on the “small screen”. Alison Castle’s monolithic edited collection of research and production material surrounding Napoleon4 gives some idea of the scale, ambition and problematic nature of re-purposing such a momen- tous project for television.
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Kubrick by Kubrick (2020) Un Mosaico Di Materiali D'archivio Che Si Ritaglia Un Posto Nella Folta Schiera Di Ammiratori Del Maestro
Kubrick By Kubrick (2020) Un mosaico di materiali d'archivio che si ritaglia un posto nella folta schiera di ammiratori del Maestro. Un film di Gregory Monro Genere Documentario durata 72 minuti. Produzione Polonia, Francia 2020. Un ritratto intimo e privato di Stanley Kubrick. Uno sguardo speciale sul mondo di un grande regista. Ascoltiamo una voce rimasta a lungo inedita. Raffaella Giancristofaro - www.mymovies.it Per circa vent'anni il critico cinematografico e giornalista parigino Michel Ciment, direttore della rivista specializzata "Positif", ha studiato il lavoro di Stanley Kubrick, intervistandolo più volte, in particolare su quattro dei suoi tredici lungometraggi: 'Arancia meccanica', 'Barry Lyndon', 'Shining' e 'Full Metal Jacket'. Le loro conversazioni, registrate su nastro, una volta trascritte hanno dato corpo a un autorevole volume monografico (edito in Italia da Milano Libri per la prima volta nel 1981, poi ripubblicato da Rizzoli nel 2007 in una versione ampliata). L'attore e sceneggiatore Gregory Monro (già autore di speciali su Calamity Jane, Jerry Lewis, Michel Legrand), riscoperti quegli audio, nel frattempo digitalizzati, ha colto l'opportunità per ridare letteralmente voce al regista e cucire attorno ad essa una nuova narrazione. In ossequioso atteggiamento verso Ciment e il suo privilegio di un dialogo prolungato con uno dei più enigmatici creatori di immagini, il film si offre come un mosaico di soli materiali d'archivio (estratti dai film, foto e interviste coeve). Dando per scontata la conoscenza dell'opera kubrickiana, con questa sintesi parziale Monro si ritaglia un posto nella folta schiera di ammiratori, collaboratori e studiosi (tra cui va nominato Filippo Ulivieri, creatore di archiviokubrick.it) che nei due decenni dalla morte del regista (1999) hanno ragionato sul suo opus.
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Hollywood Heavyweight Sylvester Stallone Stars in This Riveting Crime Thriller!
Hollywood heavyweight Sylvester Stallone stars in this riveting crime thriller! Defiant Screen Entertainment is proud to present BACKTRACE, starring action legend and three-time Academy Award nominee Sylvester Stallone alongside Matthew Modine (Full Metal Jacket, TVs Stranger Things) and Ryan Guzman (TVs Pretty Little Liars, TVs 9-1-1, Notorious). The film tells the story of a small-town heist that goes horribly wrong leaving only one survivor, MacDonald. But his injuries have left him with amnesia, and he can’t remember the crime or where he stashed the money. When a mysterious trio break him out of hospital, they inject him with an experimental serum to try to solve the million-dollar mystery…but a determined local Detective and a long-forgotten enemy are on their trail and MacDonald’s fractured mind may not survive the drug’s dangerous side effects. Describing his excitement on receiving the script, Director Brian A. Miller says, “The second I got the script, I was immediately attracted to it – the story has a huge action hook. For me it’s extremely exciting because it’s a whodunit, and as you pull that string, it takes you into different places where the audience has no idea where you’re going. But the big finale will blow them away!” When asked about the strength of the cast he put together Miller said, “I’m a huge Stallone fan. When I was a kid I was there for the Rocky films, the Rambo movies, Cobra, anything he did, I was always there catching it. And my dad was a huge Rocky fan.
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Entretien Avec Jan Harlan Jean-Philippe Gravel
Document generated on 10/02/2021 10:56 p.m. Ciné-Bulles Le cinéma d'auteur avant tout Entretien avec Jan Harlan Jean-Philippe Gravel Volume 20, Number 2, Spring 2002 URI: https://id.erudit.org/iderudit/33283ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this document Gravel, J.-P. (2002). Entretien avec Jan Harlan. Ciné-Bulles, 20(2), 10–13. Tous droits réservés © Association des cinémas parallèles du Québec, 2002 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ avec .J.nn Harlan «L'arrogance est souvent un signe de bêtise. » an Harlan PAR JEAN-PHILIPPE GRAVEL Ce n'était pas une apparition. Dans les couloirs de l'Ex-Centris, Jan Harlan était là. La théorie des six degrés de séparation prouvait sa pertinence: aujourd'hui, apparemment, il n'en fallait qu'un Seul, degré, pour séparer votre serviteur de Stanley Kubrick. Harlan était son beau-frère et son producteur exécutif depuis le projet, avorté, de Napoleon; il faisait partie de la famille et se présentait certainement, du moins aux yeux de l'auteur de ces lignes, comme une sorte d'apôtre qui aurait rencontré Dieu pour propager la bonne nouvelle.
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Film Review About Full Metal Jacket
Perrin Alexia T.ES2. Film review about Full Metal Jacket The young soldiers are trained in the USA in a military base called « Paris Island » to fight in Vietnam, then, they go in Vietnam to fight. They are afraid, but those are soldiers. The film is Full Metal Jacket (1987). The film director is Stanley Kubrick and the main actors are Matthew Modine, Adam Baldwin, Vincent d’Onofrio, R. Lee Ermey, Arliss Howard, Dorian Harewood and Kevyn Major Howard. The genre is war and drama and theme is Vietnam War. Why can we say that this movie is a classic? The Vietnam War was the longest war in USA history. It started in 1955 and ended in 1975. In a military base, in America, the young soldiers trained for war. Some soldiers go to Vietnam to fight against communism. It was a conflict between North and South Vietnam. The American soldiers supported de South Vietnam, they were not communist. So they fought against communists. There are lots of characters because there are many soldiers in this military base. The sergeant Hartman gives a nickname to some soldiers. For example, the soldier who is big is called Lawrence but the sergeant Hartman nicknames him Pyle. He gives also nicknames to other soldiers as Joker because he is funny, Snowball to make fun of him because is a swarthy soldier, Cowboy... Pyle kills Hartman. The action begins when the soldiers go to Vietnam to fight. The screenplay is perfect the scenes are consistent and structured but the script is repetitive because the soldiers say all the time “Sir, yes, sir” or “Sir, no, sir”.
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Contents B4RT1 the Films
Contents B4RT1 The Films KKI.1955 POG1957 UH.1962 DRS.1964 2SO.1968 ACO.1971 BLY.1975 SHI.1980 Ä Ai ^d Preface Killer's Kiss The Killing Paths of Glory Spartacus Lolita Dr. Strangelove, 2001: ASpace A Clockwork Barry Lyndon The Shining Füll Metal Eyes Wide Shut 1955 1956 1957 1960 1962 or: How 1 Odyssee Orange 1975 1980 Jacket 1999 Learned to Stop 1968 1971 1987 Worrying and Love the Bomb 1964 10 24 36 54 68 88 104 142 166 188 218 238 A note about aspect ratios N.B. The aspect ratios for the film sfills reproduced Though his last three films in this book adhere to the films' original formats, were masked to 1.85:1 for as follows: theatrical release, in compliance with the Standard FILM FORMAT ASPECT RATIO format, Kubrick composed Killer's Kiss 35 mm 1.33:1 them to be also viewable at Killing 35 mm 1.33:1 the füll aspect ratio of the Paths ot Glory 35 mm 1.33:1 camera negative ratio, 1.33:1. Spartacus 70 mm 2.2:1 The stills herein are presented Lolita 35 mm 1,66:1 1.33:1, as per Kubrick's inten- Di. Strangelove 35 mm 1.33:1/1.66:1 (variable) tions. 2001 70 mm 2.2:1 A Clockwork Orange 35 mm 1.66:1 The version of Killer's Kiss used Barry Lyndon 35 mm 1.77:1 for reproduction was Kubrick's The Shining 35 mm 1.33:1 personal print that featured Füll Metal Jacket 35 mm 1.33:1 the tilm's original title, "Kiss Me, Eyes Wide Shut 35 mm 1.33:1 Kill Me." B4RT2 The Creative Process EWO BIY.1975 SHI.1980 Early Work Killer's Kiss The Killing Paths of Glory Spartacus Lolita Dr.
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Dr Strangelove
0 The Essence of War An in depth analysis of Stanley Kubrick’s DR STRANGELOVE By Rob Ager April 2015 © Contents Part one – Dr Strangelove in context Chapter one – The concerned film maker 1 Chapter two – Embracing the abstract 5 Chapter three – Production 10 Chapter four – Response and film legacy 17 Part two – Dr Strangelove under the magnifying glass Chapter five – Parallels and counterparts 22 Chapter six – Flaws in the system 31 Chapter seven – MAD 48 Chapter eight – The last spasm 61 Chapter nine – The evolving plot 68 Chapter ten – Code Read (sic) 73 Chapter eleven – Joe for King 79 Chapter twelve – Priority personnel 84 Part three – Implications and aftermath for Kubrick Chapter thirteen – Parallels in Kubrick’s larger filmography 86 Chapter fourteen – Conspiracy central 91 Chapter fifteen – Kubrick’s new code 99 © Rob Ager 2015 1 Part one DR STRANGELOVE IN CONTEXT Chapter one THE CONCERNED FILM MAKER “I was interested in whether or not I was going to get blown up by an H-bomb prior to Lolita.” SK interviewed in 1966 by Jeremy Bernstein Paranoia is a label that has often been leveled at Stanley Kubrick, but in the 1960’s fear of thermonuclear war was epidemic. Everybody from high ranking officials to school children was affected, be it through war game simulations or “duck and cover” public information films. Biographers have noted the affect on Kubrick. He considered emigrating to Australia so as to be out of the way should a nuclear war take place, but for a mixture of reasons eventually settled in England. He was especially prone to nuclear war fear because of his existing preoccupation with armed conflict.
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