Stanley Kubrick: the Exhibition
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The Stanley Kubrick Archive: a Dossier of New Research FENWICK, James, HUNTER, I.Q
The Stanley Kubrick Archive: A Dossier of New Research FENWICK, James, HUNTER, I.Q. and PEZZOTTA, Elisa Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/25418/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version FENWICK, James, HUNTER, I.Q. and PEZZOTTA, Elisa (2017). The Stanley Kubrick Archive: A Dossier of New Research. Historical Journal of Film, Radio and Television, 37 (3), 367-372. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Introduction James Fenwick, I. Q. Hunter, and Elisa Pezzotta Ten years ago those immersed in researching the life and work of Stanley Kubrick (1928-1999) were gifted a unique opportunity for fresh insights into his films and production methods. In March 2007 the Kubrick Estate – supervised by his executive producer and brother-in-law, Jan Harlan – donated the director’s vast archive to the University of Arts London and instigated a new wave of scholarly study into the director. The Stanley Kubrick Archive comprises the accumulated material at Childwickbury, the Kubrick family home near St Albans, from which he largely worked and where he maintained a comprehensive record of his films’ production and marketing, collated and stored in boxes. The catalogue introduction online testifies to the sheer size of the Archive, which is stored on over 800 linear metres of shelving:1 The Archive includes draft and completed scripts, research materials such as books, magazines and location photographs. -
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. -
Stanley Kubrick: a Retrospective
Special Cinergie – Il cinema e le altre arti. N.12 (2017) https://doi.org/10.6092/issn.2280-9481/7341 ISSN 2280-9481 Stanley Kubrick: A Retrospective. Introduction James Fenwick* I.Q. Hunter† Elisa Pezzotta‡ Published: 4th December 2017 This special issue of Cinergie on the American director Stanley Kubrick (1928-1999) was inspired by a three- day conference, Stanley Kubrick: A Retrospective, held at De Montfort University, Leicester, UK in May 2016. The conference, convened by I.Q. Hunter and James Fenwick, brought together some of the leading Kubrick scholars to reflect on the methodological approaches taken towards Kubrick since the opening in 2007ofthe Stanley Kubrick Archive at the University of Arts London. The keynote speakers at the conference, Jan Harlan (Kubrick’s executive producer and brother-in-law), Robert Kolker, Nathan Abrams, and Peter Krämer, each discussed the various directions of study in the now vibrant field of Kubrick Studies. Harlan and Kolker took their audience on an aesthetic tour of Kubrick’s films,loc- ating his work firmly within the modernist tradition. Abrams, an expert in Jewish Studies as well asKubrick, decoded the Jewish influences on Kubrick as a New York intellectual with a Central European background. Krämer meanwhile focused on the production and industrial contexts of Kubrick’s career, explored a number of his unmade and abandoned projects, and situated his career as a director-producer working within and against the restrictions of the American film industry. These keynote addresses exemplified -
Creative Approaches to Information Literacy for Creative Arts Students
This is a repository copy of Creative approaches to information literacy for creative arts students. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/166604/ Version: Published Version Article: Appleton, L. orcid.org/0000-0003-3564-3447, Grandal Montero, G. and Jones, A. (2017) Creative approaches to information literacy for creative arts students. Communications in Information Literacy, 11 (1). pp. 147-167. ISSN 1933-5954 10.15760/comminfolit.2017.11.1.39 Reuse This article is distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareAlike (CC BY-NC-SA) licence. This licence allows you to remix, tweak, and build upon this work non-commercially, as long as you credit the authors and license your new creations under the identical terms. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Communications in Information Literacy Volume 11 | Issue 1 Article 7 7-12-2017 Creative Approaches to Information Literacy for Creative Arts Students Leo Appleton Goldsmiths, University of London, [email protected] Gustavo Grandal Montero Chelsea College of Arts / Camberwell College of Arts, [email protected] Abigail Jones London College of Fashion, [email protected] Let us know how access to this document beneits you. -
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. -
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. -
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. -
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”. -
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. -
“We'll Let the Gooks Play the Indians” the Endurance of the Frontier Myth in the Hyperreality of Full Metal Jacket (Stanley Kubrick, 1987)
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 18 | 2019 Guerre en poésie, poésie en guerre “We'll let the gooks play the Indians” The Endurance of the Frontier Myth in the Hyperreality of Full Metal Jacket (Stanley Kubrick, 1987) Vincent Jaunas Electronic version URL: http://journals.openedition.org/miranda/18912 DOI: 10.4000/miranda.18912 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Vincent Jaunas, ““We'll let the gooks play the Indians””, Miranda [Online], 18 | 2019, Online since 17 April 2019, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/18912 ; DOI: https://doi.org/10.4000/miranda.18912 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “We'll let the gooks play the Indians” 1 “We'll let the gooks play the Indians” The Endurance of the Frontier Myth in the Hyperreality of Full Metal Jacket (Stanley Kubrick, 1987) Vincent Jaunas 1 Upon their release, Stanley Kubrick’s films were often misunderstood and only acquired a cult status in the long run. Yet before Full Metal Jacket, none of them was ever accused of being uninventive. However, when in 1987 the director released his own take on the Vietnam War, influential American critic Roger Ebert considered that “this isn't a bad film but it‘s not a great film and in the recent history of movies about Vietnam Full Metal Jacket is too little and too late" (Ebert 1987). Released almost a decade after Michael Cimino's The Deer Hunter (1978) and Francis Ford Coppola’s Apocalypse Now (1979), Kubrick’s film even came after a new trend of 1980s Vietnam films such as the Rambo franchise or Oliver Stone’s Platoon (1986). -
Creative Approaches to Information Literacy for Creative Arts Students
Communications in Information Literacy Volume 11 Issue 1 Article 7 7-12-2017 Creative Approaches to Information Literacy for Creative Arts Students Leo Appleton Goldsmiths, University of London, [email protected] Gustavo Grandal Montero Chelsea College of Arts / Camberwell College of Arts, [email protected] Abigail Jones London College of Fashion, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/comminfolit Part of the Information Literacy Commons Let us know how access to this document benefits ou.y Recommended Citation Appleton, L., Grandal Montero, G., & Jones, A. (2017). Creative Approaches to Information Literacy for Creative Arts Students. Communications in Information Literacy, 11 (1), 147-167. https://doi.org/ 10.15760/comminfolit.2017.11.1.39 This open access Research Article is distributed under the terms of the Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Appleton et al.: Creative Approaches to Information Literacy for Creative Arts Stu COMMUNICATIONS IN INFORMATION LITERACY | VOL. 11, NO. 1, 2017 147 Creative Approaches to Information Literacy for Creative Arts Students Leo Appleton, Goldsmiths, University of London Gustavo Grandal Montero, Chelsea College of Arts/Camberwell College of Arts Abigail Jones, London College of Fashion Abstract This paper discusses the information literacy requirements of art and design students, and how traditional approaches to information literacy education are not always appropriate for these particular students. -
P20-21 Layout 1
20 Established 1961 Lifestyle Features Monday, April 29, 2019 An editing table is displayed as part of the Stanley Kubrick exhibition at the Design Original costumes from the film ‘Spartacus’ (1960), are displayed as part of the Original props from the film ‘Full Metal Jacket’ (1987). Museum in Kensington, London. — AFP photos Stanley Kubrick exhibition. Legendary director Kubrick honored with London show conic props from “The Shining” and “2001: A Space including a photograph of the snow-covered hotel in “We believe that any such film must have a deleterious Odyssey” that detail the single-minded perfectionism Oregon that would eventually be used for the outside effect upon our society (...) and therefore ought not be Iof US filmmaker Stanley Kubrick are among the high- shots of The Shining. Labels stuck on the image include made,” Reverend John Collins wrote in a 1961 letter to lights of a new London show dedicated to the late artist. instructions for how the path should appear in the shot, Kubrick. The legendary director died on March 7, 1999 in Visitors can discover Kubrick’s universe and special rela- adding “THERE IS NO OTHER WAY TO DO IT, REPEAT his mansion in Childwickbury, north of London. tionship with Britain through some 700 objects, film clips NO OTHER WAY.” In addition to the exhibition, a hunt through the and interviews, which are arranged according to the 13 The 2001: Space Odyssey section includes a model of archives of A Clockwork Orange author Anthony Burgess films he made over a 50-year career. the 12 metre “hamster wheel” used by astronauts in the have unearthed a never-before-seen unfinished “sequel” The show coincides with the 20th anniversary of film to simulate gravity.