DOCSLIB.ORG

Stanley Kubrick: a Biography Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stanley Kubrick: a Biography Free FREE STANLEY KUBRICK: A BIOGRAPHY PDF Vincent Anthony Lobrutto | 606 pages | 06 May 1999 | The Perseus Books Group | 9780306809064 | English | Cambridge, MA, United States Stanley Kubrick - Wikipedia His family were Jewish immigrants from Austria, Romania, and Russia. Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father sent him in to Pasadena, California, to stay with his uncle, Martin Perveler. Returning to the Stanley Kubrick: A Biography in for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an Stanley Kubrick: A Biography device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films. Jack Kubrick's decision to give his son a camera for his thirteenth birthday would be an even wiser move: Kubrick became an avid photographer, and would often make trips around New York taking photographs which he would develop in a friend's darkroom. After selling an unsolicited photograph to Look Magazine, Kubrick began to associate with their staff photographers, and at the age of seventeen was offered a job as an apprentice photographer. In the next few Stanley Kubrick: A Biography, Kubrick had regular assignments for "Look", and would become a voracious movie-goer. Together with friend Alexander SingerKubrick planned a move into film, and in sank his savings into making the documentary Day of the Fight This was followed by several short commissioned documentaries Flying Padreand The Seafarersbut by attracting investors and hustling chess games in Central Park, Kubrick was able to make Fear and Desire in California. Filming Stanley Kubrick: A Biography movie was not a happy experience; Kubrick's marriage to high school sweetheart Toba Metz did Stanley Kubrick: A Biography survive Stanley Kubrick: A Biography shooting. Despite mixed reviews for the film itself, Kubrick received good notices for his obvious directorial talents. Kubrick's next two films Killer's Kiss and The Killing brought him Stanley Kubrick: A Biography the attention of Hollywood, and in he directed Kirk Douglas in Paths of Glory Douglas later called upon Kubrick to take over the production of Spartacusby some accounts hoping that Kubrick would be daunted by the scale of the project and would thus be accommodating. This was not the case, however: Kubrick took charge of the project, imposing his ideas and standards on the film. Many crew members were upset by his style: cinematographer Russell Metty complained to producers that Kubrick was taking over his job. Kubrick's response was to tell him to sit there and do nothing. Metty complied, and ironically was awarded the Academy Award for his cinematography. Kubrick's next project was to direct Marlon Brando in One-Eyed Jacksbut negotiations broke down and Brando himself ended up directing the film himself. Disenchanted with Hollywood and after another failed marriage, Kubrick moved permanently to England, from where he would make all of his subsequent films. Despite having obtained a pilot's license, Kubrick was rumored to be afraid of flying. Kubrick's first UK film was Lolitawhich was carefully constructed and guided so as to not offend the censorship boards which at the time had the power to severely damage the commercial success of a film. Strangelove or: How I Learned Stanley Kubrick: A Biography Stop Worrying and Love the Bomb was a big risk for Kubrick; before this, "nuclear" was not considered a Stanley Kubrick: A Biography for comedy. Originally written as a drama, Kubrick decided Stanley Kubrick: A Biography too many of the ideas he had written were just too funny to be taken seriously. The film's critical and commercial success allowed Kubrick the financial and artistic freedom to work on any project he desired. Around this time, Kubrick's focus diversified and he would always have several projects in various stages of development: "Blue Moon" a story about Hollywood's first pornographic feature film"Napoleon" an epic historical biography, abandoned after studio losses on similar projects"Wartime Lies" based on the novel by Louis Begleyand "Rhapsody" a psycho-sexual thriller. The Stanley Kubrick: A Biography film he completed was a collaboration with sci-fi author Arthur C. Kubrick followed this with A Clockwork Orangewhich rivaled Lolita for the controversy it generated - this time not only for its portrayal of sex, but also of violence. Barry Lyndon would prove a turning point in both his professional and private lives. His unrelenting demands of commitment and perfection of cast and crew had by now become legendary. Actors would be required to perform dozens of takes with no breaks. Filming a story in Ireland involving military, Kubrick received reports that the IRA had declared him a possible target. Production was promptly moved out of the country, and Kubrick's desire for privacy and security resulted in him being considered a recluse ever since. Having turned down directing a sequel to The ExorcistKubrick made his own horror film: The Shining Again, rumors circulated of demands made upon actors and crew. Stephen King whose novel the film was based Stanley Kubrick: A Biography reportedly didn't like Kubrick's adaptation indeed, he would later write his own screenplay which was filmed as The Shining Kubrick's subsequent work has been well spaced: it was seven years before Full Metal Jacket was released. By this time, Kubrick was married with children and had extensively remodeled his house. Seen by one critic as the dark side to the humanist story of Stanley Kubrick: A BiographyFull Metal Jacket continued Kubrick's legacy of solid critical acclaim, Stanley Kubrick: A Biography profit at the box office. Kubrick returned to his in-development projects, but encountered a number of problems: "Napoleon" was completely dead, and "Wartime Lies" now called "The Aryan Papers" was abandoned when Steven Spielberg announced he would direct Schindler's Listwhich covered much of the same material. After two years of production under unprecedented security and privacy, the film was released to a typically polarized critical and public reception; Kubrick claimed it was his best film to date. Special effects technology had matured rapidly in the meantime, and Kubrick immediately began active work on A. Artificial Intelligencebut tragically suffered a fatal heart attack in his sleep on March 7th, After Kubrick's death, Spielberg revealed that the two of them were friends that frequently communicated discreetly about the art of filmmaking; both had a large degree of mutual respect for each other's work. Based on this relationship, Spielberg took over as the film's director and completed the last Kubrick project. How much of Kubrick's vision remains in the finished project -- and what he would think of the Stanley Kubrick: A Biography as eventually released -- will be the final great unanswerable mysteries in the life of this talented and private filmmaker. Sign Stanley Kubrick: A Biography. Edit Stanley Kubrick. Stanley Kubrick: A Biography all Stanley Kubrick: A Biography. Adapted every film he made from a novel, excluding his first two films: Killer's Kiss and Fear and Desire both from original source materialand A Space Odyssey His Stanley Kubrick: A Biography often tell about the dark side Stanley Kubrick: A Biography human nature, especially dehumanization. Often features shots down the length of tall, parallel walls, e. CRM is the name of the decoder in Dr. Known for his exorbitant shooting ratio and endless takes, he reportedly exposed an incredible 1. Involves his wives in his movies. His second Stanley Kubrick: A Biography, Ruth Sobotka Kubrick, was in Killer's Kiss as a ballet dancer named Iris in a short sequence for which Stanley Kubrick: A Biography also did the choreography. Kubrick's third, and final, wife, Christiane Harlan Kubrick, appeared as Susanne Christian in Paths of Glory before she married him as the only female character a German singing girl in the movie. Preferred to shoot his films in the Academy ratio 1. Much of his films consist of wide-angle shots that give the impression of a wide-screen movie, wide up-and-down as well as wide sideways. From The Killing onward, his films looked increasingly odder, bigger, and more properly viewed from the rows closer to the screen. One of his signature shots was "The Glare" - a character's emotional meltdown is depicted by a close-up shot of the actor with his head tilted slightly down, but with his eyes looking up - usually directly into the camera. Credits are always a slide show. He never used rolling credits except for the opening of The Shining Varies aspect ratios in a single film. Apparent in Dr. In almost every movie Stanley Kubrick: A Biography made, there Stanley Kubrick: A Biography a tracking shot of a character the camera following the character. All of his films end with "The End", when this became out of style in later years because of the need to run end credits, he moved "The End" to the end of the credits. Often uses music to work against on-screen images to create a sense of irony. In Dr. Strangelove", have elements of black humor in them. Preferred mono sound over stereo. For example, A Clockwork Orange shows Alex Malcolm McDowell as a sadistic rapist and murderer in the first half of the film and a mind-controlled guinea pig in the second half. In Eyes Wide ShutBill Tom Cruise travels amidst sexual temptation in New York at night in the first half of the film and rude awakenings during Stanley Kubrick: A Biography day in the second half.
Load more

Recommended publications
  • What Kubrick's Kelley O'brien University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School March 2018 "He Didn't Mean It": What Kubrick's Kelley O'Brien University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the Film and Media Studies Commons Scholar Commons Citation O'Brien, Kelley, ""He Didn't Mean It": What Kubrick's" (2018). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/7204 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. “He Didn‟t Mean It”: What Kubrick‟s The Shining Can Teach Us About Domestic Violence by Kelley O‟Brien A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts With a concentration in Humanities Department of Humanities and Cultural Studies College Arts and Sciences University of South Florida Major Professor: Daniel Belgrad, Ph.D. Maria Cizmic, Ph.D. Amy Rust Ph.D. Date of Approval: March 8, 2018 Keywords: Patriarchy, Feminism, Gender Politics, Horror, American 1970s Copyright © 2018, Kelley O‟Brien Dedication I dedicate this thesis project to my mother, Terri O‟Brien. Thank you for always supporting my dreams and for your years of advocacy in the fight to end violence against women. I could not have done this without you. Acknowledgments First I‟d like to express my gratitude to my thesis advisor Dr.
    [Show full text]
  • Kubrick Sur Internet Philippe Mather
    Document generated on 09/27/2021 9:48 p.m. Ciné-Bulles Le cinéma d’auteur avant tout Kubrick sur Internet Philippe Mather Volume 18, Number 4, Summer 2000 URI: https://id.erudit.org/iderudit/33604ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this article Mather, P. (2000). Kubrick sur Internet. Ciné-Bulles, 18(4), 40–45. Tous droits réservés © Association des cinémas parallèles du Québec, 2000 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/ sur Internet Kubrick sur Internet PAR PHILIPPE MATHER siècle, mais il devient utile de faire contiennent des documents et des un bilan provisoire en examinant liens hypertextes intéressants, parmi les ressources dans Internet concer­ lesquels on comptera (l'incontour­ our certains, le récent Eyes nant les films du réalisateur anglo- nable) Internet Movie Database, Wide Shut serait un film américain. dont nous avons souvent eu Pprétentieux et misogyne. Selon l'occasion de souligner les qualités, Martin Scorsese, il s'agit de l'un des Premier constat: il existe de nom­ et qui sert également de référence meilleurs films des années 1990.
    [Show full text]
  • March 30, 2010 (XX:11) Stanley Kubrick, the SHINING (1980, 146 Min)
    March 30, 2010 (XX:11) Stanley Kubrick, THE SHINING (1980, 146 min) Directed by Jules Dassin Directed by Stanley Kubrick Based on the novel by Stephen King Original Music by Wendy Carlos and Rachel Elkind Cinematography by John Alcott Steadycam operator…Garrett Brown Jack Nicholson...Jack Torrance Shelley Duvall...Wendy Torrance Danny Lloyd...Danny Torrance Scatman Crothers...Dick Hallorann Barry Nelson...Stuart Ullman Joe Turkel...Lloyd the Bartender Lia Beldam…young woman in bath Billie Gibson…old woman in bath Anne Jackson…doctor STANLEY KUBRICK (26 July 1928, New York City, New York, USA—7 March 1999, Harpenden, Hertfordshire, England, UK, natural causes) directed 16, wrote 12, produced 11 and shot 5 films: Eyes Wide Shut (1999), Full Metal Jacket (1987), The Shining Lyndon (1976); Nominated Oscar: Best Writing, Screenplay Based (1980), Barry Lyndon (1975), A Clockwork Orange (1971), 2001: A on Material from Another Medium- Full Metal Jacket (1988). Space Odyssey (1968), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Lolita (1962), Spartacus STEPHEN KING (21 September 1947, Portland, Maine) is a hugely (1960), Paths of Glory (1957), The Killing (1956), Killer's Kiss prolific writer of fiction. Some of his books are Salem's Lot (1974), (1955), The Seafarers (1953), Fear and Desire (1953), Day of the Black House (2001), Carrie (1974), Christine (1983), The Dark Fight (1951), Flying Padre: An RKO-Pathe Screenliner (1951). Half (1989), The Dark Tower (2003), Dark Tower: The Song of Won Oscar: Best Effects, Special Visual Effects- 2001: A Space Susannah (2003), The Dark Tower: The Drawing of the Three Odyssey (1969); Nominated Oscar: Best Writing, Screenplay Based (2003), The Dark Tower: The Gunslinger (2003), The Dark Tower: on Material from Another Medium- Dr.
    [Show full text]
  • The Shining: a Comparative Analysis of the Original Novel and Its Adaptation
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Jan Zbořil The Shining: A Comparative Analysis of the Original Novel and its Adaptation Bachelor‟s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………… 2 Acknowledgements I would like to thank my supervisor, doc. Tomáš Pospíšil, for his patience and understanding. I would also like to thank my friend Jakub Hamari, who provided incredible support during all phases of my work. 3 Table of Contents 1. Introduction...............................................................................................5 2. The Authors 2.1 Stephen King.................................................................................7 2.2 Stanley Kubrick.............................................................................9 3. The Book 3.1 Origin..........................................................................................14 3.2 Form............................................................................................15 3.3 The Narrative...............................................................................16 3.4 Critical Analysis..........................................................................20 3.5 Characters....................................................................................23 4. The Movie 4.1 Origin..........................................................................................32
    [Show full text]
  • The Encyclopedia of Stanley Kubrick
    THE ENCYCLOPEDIA OF STANLEY KUBRICK THE ENCYCLOPEDIA OF STANLEY KUBRICK GENE D. PHILLIPS RODNEY HILL with John C.Tibbetts James M.Welsh Series Editors Foreword by Anthony Frewin Afterword by Leon Vitali The Encyclopedia of Stanley Kubrick Copyright © 2002 by Gene D. Phillips and Rodney Hill All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Hill, Rodney, 1965– The encyclopedia of Stanley Kubrick / Gene D. Phillips and Rodney Hill; foreword by Anthony Frewin p. cm.— (Library of great filmmakers) Includes bibliographical references and index. ISBN 0-8160-4388-4 (alk. paper) 1. Kubrick, Stanley—Encyclopedias. I. Phillips, Gene D. II.Title. III. Series. PN1998.3.K83 H55 2002 791.43'0233'092—dc21 [B] 2001040402 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K.Arroyo Cover design by Nora Wertz Illustrations by John C.Tibbetts Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper.
    [Show full text]
  • Stanley Kubrick As Auteur and Adapter University of Sydney
    Grant Domonic Malfitano [REDACTION] The Duality of Man: Stanley Kubrick as Auteur and Adapter University of Sydney Faculty of Arts, Department of English Thesis submitted to fulfil requirements for the degree of Master of Research 1 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. I certify that the intellectual content of this this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. 2 Dedication For my parents, who lit the flame. 3 List of Contents Title Page 1 Statement of Originality 2 Dedication 3 Abstract 5 Introduction - Adaptation and Adaptation Theory; 6 i) Fidelity 10 ii) Intertextuality 11 iii) Raw Material Adaptation 14 iv) The place of the auteur in adaptation studies 16 The Kubrickian Tenets of Adaptation Chapter 1 – Narrative and Structure. 18 Chapter 2 – Visual Technique 35 Chapter 3 – Actor Performance 60 Chapter 4 – Music Selection, Arrangement and Design 85 In Conclusion 103 4 Abstract In this thesis I examine the scholarship of Adaptation Theory, commencing with the seminal work of George Bluestone in 1957, up to and including the more recent approaches of Kyle Meikle (2013), Thomas Leitch (2007), Linda Hutcheon (2006) and both Brian McFarlane (1996) and Karen Kline (1996). Each of these theorists has grappled with the overarching concept of fidelity, the status of film as autonomous art, the status of film authorship, and textual primacy. Secondly, I apply the current scholarship on Adaptation Theory to the work of film auteur, Stanley Kubrick.
    [Show full text]
  • Collaborative Authorship in Stanley Kubrick's Films
    Voices and noises: Collaborative authorship in Stanley Kubrick’s films Manca Perko Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies January 2019 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract This thesis sets out to challenge the mythology surrounding Kubrick’s filmmaking practice. The still dominant auteur approach in Kubrick studies identifies the director’s filmmaking practice as autonomous, with little creative input from his crew members. Following the recent shift in research that focuses on the collaborative nature of Kubrick’s working practice, I argue for a different perspective on creative practice in film production. The working process in Kubrick’s crews is shown to exhibit strong collaborative features and to encourage individual creative input. This thesis is based on the examination of historical evidence acquired from the Stanley Kubrick Archive in London and an extensive collection of mediated and personally conducted interviews with Kubrick’s collaborators. The historical discourse analysis employed in this thesis is rooted in New Film History methodologies and, with its findings, leads to an alternative perspective on film history. The challenge to the accepted view (or myth) of Kubrick is achieved with the use of discourse sources from production and from the archive, presented in the form of stories from pre-production to the promotion stage of film production.
    [Show full text]
  • Kubrick: a True Artist. an Interview with Christiane Kubrick and Jan Harlan
    KUBRICK: A TRUE ARTIST. AN INTERVIEW WITH CHRISTIANE KUBRICK AND JAN HARLAN Artur Piskorz Ph. D. Pedagogical University in Krakow, Poland English Department ABSTRACT In May 2014 an exhibition opened in the National Musem in Krakow, Poland, devoted to one of the greatest filmmakers – Stanley Kubrick. Christiane, Kubrick’s wife, and her brother, Jan Harlan, himself a long time collaborator of Kubrick’s, have selected a few hundred items related to individual films and put them on display, so providing a once in a lifetime experience for anybody wanting to immerse themselves in the Kubrickian universe. In the interview, Christiane Kubrick and Jan Harlan discuss the idea behind the exhibition as well as their life and work with the late great director. Key words: Kubrick, exhibition, Krakow, Christiane, Harlan, interview. RESUMEN «Kubrick: un verdadero artista. Entrevista con Christiane Kubrick y Jan Harlan». El Museo Nacional de Cracovia inauguró en mayo de 2014 una exposición sobre Stanley Kubrick, que supuso una oportunidad única para el visitante interesado en el universo del director. En ella se exhiben varios cientos de objetos y referencias coleccionados por su viuda, Christiane, 109 y el hermano de ésta, Jan Harlan, quien a su vez fue un estrecho colaborador suyo. En la entrevista que sigue, ambos comentan la idea que dio origen a la exposición, así como sus experiencias personales y profesionales con el gran cineasta fallecido. Palabras clave: Kubrick, exposición, Cracovia, Christiane, Harlan, entrevista. The untimely death of Stanley Kubrick 15 years ago was a terrible blow to anybody interested in cinema. A mythical figure, a passionate moralist, a visionary filmmaker whose films redefined film art – it would be quite easy to compile a lengthy list of similar descriptions.
    [Show full text]
  • MAKING the SHINING Or How Kubrick Copied a Single Picture Into the Viewer’S Mind by Using the TV Mosaic
    MAKING THE SHINING Or How Kubrick Copied A Single Picture Into The Viewer’s Mind By Using The TV Mosaic By Single:Boy@92 February 2012 ‘…Thank god for Vivian's Making the Shining, she is a prodigy. To think she photographed that at age 17, with a large heavy Aaton 16mm (I'm assuming) and did a magnificent job of filming. A truly amazing job, absolutely astounding, incredible, precocious. I often wonder what line of work she went into later in life, she probably could have been an amazing cinematographer’ IMDB-Comment on MAKING THE SHINING ABSTRACT -While reading, please keep in mind my first language isn’t English. Also note this text needs to be seen as a first draft. Thank you.- The main subject of this article is to show that everything in the 35-minute documentary MAKING THE SHINING was choreographed and scripted by Stanley Kubrick. But as the documentary is intensely connected with Kubrick’s other work -in the broadest sense of the word-, I’m kind of forced to tell you first why Kubrick choreographed the documentary at all. This I’ll do in a so called ‘lead up’, written in two parts. The first part is basically about, what I think, is the starting point of a Kubrick- film. The second part generally is about which attitude one should have towards MAKING THE SHINING and THE SHINING. I’ll try to write the ‘lead up’ to the point and elaborate on things only when I think it’s necessary. Eventually the lead up results in the ‘main part’ about the relationship between the documentary and the actual film.
    [Show full text]
  • Stanley Kubrick: Producers and Production Companies
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive Stanley Kubrick: Producers and Production Companies Thesis submitted by James Fenwick In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, September 2017 1 Abstract This doctoral thesis examines filmmaker Stanley Kubrick’s role as a producer and the impact of the industrial contexts upon the role and his independent production companies. The thesis represents a significant intervention into the understanding of the much-misunderstood role of the producer by exploring how business, management, working relationships and financial contexts influenced Kubrick’s methods as a producer. The thesis also shows how Kubrick contributed to the transformation of industrial practices and the role of the producer in Hollywood, particularly in areas of legal authority, promotion and publicity, and distribution. The thesis also assesses the influence and impact of Kubrick’s methods of producing and the structure of his production companies in the shaping of his own reputation and brand of cinema. The thesis takes a case study approach across four distinct phases of Kubrick’s career. The first is Kubrick’s early years as an independent filmmaker, in which he made two privately funded feature films (1951-1955). The second will be an exploration of the Harris-Kubrick Pictures Corporation and its affiliation with Kirk Douglas’ Bryna Productions (1956-1962). Thirdly, the research will examine Kubrick’s formation of Hawk Films and Polaris Productions in the 1960s (1962-1968), with a deep focus on the latter and the vital role of vice-president of the company.
    [Show full text]
  • Stanley Kubrick: Full Metal Jacket 1987 116 Minutes
    November 13, 2007 (XV:12) Stanley Kubrick: Full Metal Jacket 1987 116 minutes Produced and Directed by Stanley Kubrick Based on Gustav Hasford’s novel, The Short Timers Screenplay by Stanley Kubrick, Michael Herr & Gustav Hasford Original Music by Vivian Kubrick (as Abigail Mead) Cinematography by Douglas Milsome Film Editing by Martin Hunter Matthew Modine..Pvt. Joker Adam Baldwin..Animal Mother Vincent D'Onofrio..Leonard 'Private Pyle' Pratt R. Lee Ermey..Gny. Sgt,Hartman Dorian Harewood..Eightball Kevyn Major Howard..Rafterman Arliss Howard..Pvt.Cowboy Ed O'Ross..Lt.Touchdown John Terry..Lt.Lockhart Kieron Jecchinis..Crazy Earl Kirk Taylor..Payback Tim Colceri..Doorgunner Jon Stafford..Doc Jay Bruce Boa..Poge Colonel Ian Tyler..Lt.Cleves Sal Lopez..T.H.E. Rock Gary Landon Mills..Donlon Papillon Soo..Da Nang Hooker Peter Edmund..Snowball Peter Merrill..TV Journalist Ngoc Le..VC Sniper Herbert Norville..Daytona Dave Leanne Hong..Motorbike Hooker Nguyen Hue Phong..Camera Thief Tan Hung Francione..ARVN Pimp Duc Hu Ta..Dead N.V.A. Marcus D'Amico..Hand Job Stanley Kubrick..Murphy (voice) Costas Dino Chimona..Chili Vivian Kubrick..News Camera Operator at Mass Grave Gil Kopel..Stork David Palffy..Mass Grave Soldier Keith Hodiak..Daddy D.A. John Ward..TV Camera Operator STANLEY KUBRICK (26 July 1928, New York, New York—7 March 1999, Harpenden, Hertfordshire, England), generally regarded as one of the greatest directors, made only 13 feature films. He so loathed the first of these (Fear and Desire 1953) that he withdrew it from circulation. The others are: Killer’s Kiss 1955, The Killing 1956, Paths of Glory 1957, Spartacus 1960, Lolita 1962, Dr.
    [Show full text]
  • Northumbria Research Link
    Northumbria Research Link Citation: Egan, Kate (2015) Precious footage of the auteur at work: framing, accessing, using, and cultifying Vivian Kubrick's Making the Shining. New Review of Film and Television Studies, 13 (1). pp. 63-82. ISSN 1740-0309 Published by: UNSPECIFIED URL: This version was downloaded from Northumbria Research Link: http://northumbria-test.eprints- hosting.org/id/eprint/54194/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Precious Footage of the Auteur at Work: Framing, Accessing, Using and Cultifying Vivian Kubrick’s Making The Shining Kate Egan, Aberystwyth University, UK Abstract This article aims to explore the centrality to Kubrick’s cult reputation of a touchstone resource for Kubrick fans: Vivian Kubrick’s 1980 documentary Making The Shining.
    [Show full text]