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E Office of the City Engineer Los Angeles
ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk- PAUL MAZURSKY RECOMMENDATIONS: A. That the City Council designate the unnumbered location situated one sidewalk square northerly of and between numbered locations 12H and 12h as shown on Sheet # 16 of Plan D-13788 for the Hollywood Walk of Fame for the installation of the name of Paul Mazursky at 6667 Hollywood Boulevard. B. Inform the Hollywood Chamber of Commerce of the Council's action on this matter. C. That this report be adopted prior to the date of the ceremony on December 13,2013. FISCAL IMPACT STATEMENT: No General Fund Impact. All cost paid by permittee. TRANSMITTALS: 1. Unnumbered communication dated November 5, 2013, from the Hollywood Historic Trust of the Hollywood Chamber of Commerce, biographical information and excerpts from the minutes of the Chamber's meeting with recommendations. City Council - 2- C. D. No. 13 DISCUSSION: The Walk of Fame Committee of the Hollywood Chamber of Commerce has submitted a request for insertion into the Hollywood Walk of Fame the name of Paul Mazursky. The ceremony is scheduled for Friday, December 13,2013 at 11:30 a.m. The communicant's request is in accordance with City Council action of October 18, 1978, under Council File No. 78-3949. Following the Council's action of approval, and upon proper application and payment of the required fee, an installation permit can be secured at 201 N. -
Stanley Kubrick STANLEY KUBRICK
L’ADRC, WARNeR BROS. « Quiconque a eu le privilège de réaliser un film est conscient que c’est comme vouloir écrire en partenariat avec L’AfCAe, POSiTif, Guerre et Paix dans l’auto-tamponneuse d’un parc d’attraction. Mais lorsqu’enfin la tâche est bien LA CiNÉmATHÈQUe accomplie, peu de choses dans la vie peuvent se comparer à ce que l’on ressent alors. » fRANÇAiSe présentent Stanley KUBRICK STANLEY KUBRICK Ces lignes sont extraites d’un message filmé (le seul document cinématographique où apparaît le cinéaste outre le film réalisé par sa fille Vivian sur le tournage deShining ) LA RÉTROSPECTIVE que Stanley Kubrick envoya, en 1997, à la Directors’ Guild of America pour la remercier de lui avoir attribué le prix D.W. Griffith. Elles éclairent un artiste souvent incompris et un homme certes de l’étoffe dont sont faits les mythes, mais dont le goût du secret a conduit les médias à en donner une image erronée. Si beaucoup de jeunes réalisa- teurs considèrent comme naturel de se retrouver derrière la caméra, il estimait encore, après quarante-cinq ans de carrière, que c’était une faveur spéciale dont il bénéficiait. L’expérience lui avait aussi appris qu’à la différence de celle du musicien, du peintre ou de l’écrivain, l’activité d’un metteur en scène était à la merci de nombreux aléas, d’où la nécessité de garantir par un maximum de contrôle sa liberté de création et l’accomplissement de sa vision. Cette déclaration révèle enfin à quel point l’exercice de son art fut pour lui la source des plaisirs les plus intenses. -
The Big Goodbye
Robert Towne, Edward Taylor, Jack Nicholson. Los Angeles, mid- 1950s. Begin Reading Table of Contents About the Author Copyright Page Thank you for buying this Flatiron Books ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on the author, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Lynne Littman and Brandon Millan We still have dreams, but we know now that most of them will come to nothing. And we also most fortunately know that it really doesn’t matter. —Raymond Chandler, letter to Charles Morton, October 9, 1950 Introduction: First Goodbyes Jack Nicholson, a boy, could never forget sitting at the bar with John J. Nicholson, Jack’s namesake and maybe even his father, a soft little dapper Irishman in glasses. He kept neatly combed what was left of his red hair and had long ago separated from Jack’s mother, their high school romance gone the way of any available drink. They told Jack that John had once been a great ballplayer and that he decorated store windows, all five Steinbachs in Asbury Park, though the only place Jack ever saw this man was in the bar, day-drinking apricot brandy and Hennessy, shot after shot, quietly waiting for the mercy to kick in. -
Stanley Kubrick -- Auteur Adriana Magda College of Dupage
ESSAI Volume 15 Article 24 Spring 2017 Stanley Kubrick -- Auteur Adriana Magda College of DuPage Follow this and additional works at: https://dc.cod.edu/essai Recommended Citation Magda, Adriana (2017) "Stanley Kubrick -- Auteur," ESSAI: Vol. 15 , Article 24. Available at: https://dc.cod.edu/essai/vol15/iss1/24 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. Magda: Stanley Kubrick -- Auteur Stanley Kubrick – Auteur by Adriana Magda (Motion Picture Television 1113) tanley Kubrick is considered one of the greatest and most influential filmmakers in history. Many important directors credit Kubrick as an important influence in their career and Sinspiration for their vision as filmmaker. Kubrick’s artistry and cinematographic achievements are undeniable, his body of work being a must watch for anybody who loves and is interested in the art of film. However what piqued my interest even more was finding out about his origins, as “Kubrick’s paternal grandmother had come from Romania and his paternal grandfather from the old Austro-Hungarian Empire” (Walker, Taylor, & Ruchti, 1999). Stanley Kubrick was born on July 26th 1928 in New York City to Jaques Kubrick, a doctor, and Sadie Kubrick. He grew up in the Bronx, New York, together with his younger sister, Barbara. Kubrick never did well in school, “seeking creative endeavors rather than to focus on his academic status” (Biography.com, 2014). While formal education didn’t seem to interest him, his two passions – chess and photography – were key in shaping the way his mind worked. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Eyes Wide Open on the Female Subject in Stanley Kubrick's Eyes Wide Shut Diplomarbeit Zur Erlangung Des Akademischen Grades Eine
Eyes Wide Open on the Female Subject in Stanley Kubrick's Eyes Wide Shut Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Magª Christine WILHELM am Institut für Anglistik/Amerikanistik Begutachter: Ao. Univ.-Prof. Mag. Dr.phil Klaus Rieser Graz, 2014 Contents 1. Introduction ................................................................................................................... 3 2. Feminism and Film ....................................................................................................... 5 2.1. Key Figures and Concepts in Feminist Film Theory ............................................... 5 2.1.1. Beginnings ....................................................................................................... 6 2.1.2. American Influence: Images of Women............................................................ 6 2.1.3. European Influence: Screen Theory ................................................................. 8 2.1.3.1. Marxism ..................................................................................................... 8 2.1.3.2. Semiotics and Structuralism ...................................................................... 9 2.2 Psychoanalysis: Freud and Lacan ........................................................................ 10 3. The ‘Gaze’: Ways of Looking ...................................................................................... 15 3.1. Men Looking at Women ....................................................................................... -
Stanley Kubrick Ebook Free Download
STANLEY KUBRICK PDF, EPUB, EBOOK John Baxter | 399 pages | 01 Oct 1997 | Carroll & Graf Publishers Inc | 9780786704859 | English | New York, United States Stanley Kubrick PDF Book Now that we're a little more comfortable, let's take a look. Harris to form Harris-Kubrick Productions. People dance at a New York Society Ball in Well, Stanley was so competitive that he bought almost every book available on Georgian architecture so he could argue with me. If every concept or idea is stretched as far as it can be, are they better equipped to stand the test of time? When we follow a character moving through their environment. Take a look at the shot list in StudioBinder below:. This is why the dark comedy of Dr. At the time, he was living on 16th Street, off Sixth Avenue, and making films in his spare time. Despite stirring up plenty of controversy of its own with its subject matter particularly with the Catholic Legion of Decency , Lolita was a box-office hit. Auteur Theory Made Practical. List Activity Views: 20, in last week The genius of this design is that it's hubris matches that of the leaders who use it. Approved 88 min Drama, War. It would have been an easy gig in any case, cheaper and quicker than making itself. Sign up to our newsletters and we'll keep you in the loop with everything good going on in the creative world. The blockbuster won four Academy Awards. Subscribe Now. It is regarded as an important late-period film noir , largely because of its creative use of flashbacks and its nonlinear narrative. -
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 -
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. -
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olnef ala!Jqe~ pun JaIZU!Jd lnW\aH sueH UOI\ uaqa~a~SneJaH Vorwort Inhalt Die fünfte Generation / Von Hans Helmut Prinzler 7 Night Moves Die Todesspur / Von Dominik Graf 9 Genrekino Recycling von Gewalt und Gesetzlosigkeit / Von Elisabeth Bronfen 15 Gesellschaftsbilder Verlorene Illusionen / Von Bert Rebhandl 33 Rollenwandel Im Wunderland / Von Daniela Sannwald 45 Gegenkultur Outlaws im Namen Amerikas / Von Diedrich Diederichsen 59 Chronik 1967-1976 Vietnam, Watergate und Woodstock / Von Olaf Möller und Bert Rebhandl 69 Fünfzig Porträts Von Altman bis Wurlitzer 93 Essays, Biografien, Filmografien, Bibliografien Robert Altman Hai Ashby John G. Avildsen ,!\ Warren Beatty Robert Benton Peter Bogdanovich John Boorman John Calley John Cassavetes Michael Cimino Shirley Clarke Francis Ford Coppola Roger Corman jjj Emile de Antonio Brian De Palma Bob Dylan Carole Eastman Robert Evans Peter Fonda William Friedkin Monte Hellman ~, Dennis Hopper Henry Jaglom Barbara Loden George Lucas Terrence Malick Elaine May Jim McBride John Milius Walter Murch Jack Nicholson Alan J. Pakula Sam Peckinpah Julia Phillips Sydney Pollack Bob Rafelson Michael Ritchie George A. Romero Jerry Schatzberg Bert Schneider Paul Schrader Martin Scorsese Steven Spielberg Robert Towne Melvin Van Peebles Andy Warhol John Waters Haskell Wexler Frederick Wiseman Rudy Wurlitzer Auswa hIliteratur Von Biskind bis Monaco 213 Hinweise Dank, Autoren, Fotos 215 Register Filme 219 Personen 225 4 Inhalt Fünfzig Porträts Robert Altman / Von Norbert Grob 94 Hai Ashby / Von Daniel Kothenschulte -
The Studio System and Conglomerate Hollywood
TCHC01 6/22/07 02:16 PM Page 11 PART I THE STRUCTURE OF THE INDUSTRY TCHC01 6/22/07 02:16 PM Page 12 TCHC01 6/22/07 02:16 PM Page 13 CHAPTER 1 THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ Introduction In August 1995 Neal Gabler, an astute Hollywood observer, wrote an op-ed piece for The New York Times entitled “Revenge of the Studio System” in response to recent events that, in his view, signaled an industry-wide transformation (Gabler 1995). The previous year had seen the Seagram buyout of MCA-Universal, Time Warner’s purchase of the massive Turner Broadcasting System, and the launch of Dream- Works, the first new movie studio since the classical era. Then on August 1 came the bombshell that provoked Gabler’s editorial. Disney announced the acquisition of ABC and its parent conglomerate, Cap Cities, in a $19 billion deal – the second- largest merger in US history, which created the world’s largest media company. Disney CEO Michael Eisner also disclosed a quarter-billion-dollar deal with Mike Ovitz of Hollywood’s top talent agency, Creative Artists, to leave CAA and run the Disney empire. For Gabler, the Disney deals confirmed “a fundamental shift in the balance of power in Hollywood – really the third revolution in the relationship between industry forces.” Revolution I occurred nearly a century before with the formation of the Hollywood studios and the creation of a “system” that enabled them to con- trol the movie industry from the 1920s through the 1940s. Revolution II came with the postwar rise of television and the dismantling of the studio system by the courts, which allowed a new breed of talent brokers, “most notably Lew Wasserman of the Music Corporation of America [MCA],” to usurp control of the film industry. -
The Films of Stanley Kubrick
FM 201 Introduction to Film Studies: The Films of Stanley Kubrick Seminar Leader: Matthias Hurst Course Times: Monday, 14.00 – 15.30; Monday, 19.30 – 22.00 (weekly film screening); Wednesday, 14.00 – 15.30 Email: [email protected] Office Hours: Tuesday, 13.30 – 15.00 Course Description This course is an introduction to Film Studies and provides an insight into the basic knowledge of film history and theory, film aesthetics and cinematic language. Central topics are the characteristics of film as visual form of representation, styles of filmic discourse, film analysis and different approaches to film interpretation. We explore and discuss the meaning of film as an art form, the elements of narration in fiction film and the representative function of film in modern culture, i.e. the ability of film to address important socio-historical, political, philosophical and psychological issues. The focus of this class will be on film director Stanley Kubrick (1928 – 1999), whose exceptional work, transcending genre boundaries and simple categories of mere storytelling, has become an important and influential part of film history. Kubrick’s films, often based on literary sources, are both exercises in style and critical comments on modern society and the human condition; his films also create a powerfully uncanny and disturbing effect, and have left signature imprints not only on the development of cinema, but on the wider cultural imagination. The narrative precision and film noir aesthetics of The Killing (1956), the humanist impact of Paths of Glory (1957), the epic scope of Spartacus (1960), the controversial eroticism of Lolita (1962), the satirical humour of Dr.