DOCSLIB.ORG

October 20, 2009 (XIX:8) Stanley Kubrick LOLITA (1962, 152 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 20, 2009 (XIX:8) Stanley Kubrick LOLITA (1962, 152 Min) October 20, 2009 (XIX:8) Stanley Kubrick LOLITA (1962, 152 min) Directed by Stanley Kubrick Screenplay by Vladimir Nabokov & Stanley Kubrick Based on the novel by Vladimir Nabokov Original Music by Nelson Riddle Cinematography by Oswald Morris James Mason...Prof. Humbert Humbert Shelley Winters...Charlotte Haze Sue Lyon... Lolita Peter Sellers... Clare Quilty STANLEY KUBRICK (26 July 1928, New York City, New York, USA—7 March 1999, Harpenden, Hertfordshire, England, UK, natural causes) direct 16, wrote 12, produced 11 and shot 5 films: Eyes Wide Shut (1999), Full Metal Jacket (1987), The Shining (1980), Barry Lyndon (1975), A Clockwork Orange (1971), 2001: A Space Odyssey (1968), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Lolita (1962), Spartacus (1960), Paths of Glory (1957), The Killing (1956), Killer's Kiss (1955), The Seafarers (1953), Fear and Desire (1953), Day of the Fight (1951), Flying Padre: An RKO-Pathe short story writer. Nabokov wrote his first nine novels in Russian, Screenliner (1951). Won Oscar: Best Effects, Special Visual then rose to international prominence as a master English prose Effects- 2001: A Space Odyssey (1969); Nominated Oscar: Best stylist. He also made contributions to entomology and had an Writing, Screenplay Based on Material from Another Medium- interest in chess problems. Nabokov's Lolita (1955) is frequently Dr. Strangelove or: How I Learned to Stop Worrying and Love cited as amongst his most important novels, and is his most the Bomb (1965); Nominated Oscar: Best Picture- Dr. Strangelove widely known, exhibiting or: How I Learned to Stop Worrying and Love the Bomb (1965); the love of intricate word Nominated Oscar: Best Director- Dr. Strangelove or: How I play and descriptive Learned to Stop Worrying and Love the Bomb (1965); Nominated detail that characterized Oscar: Best Writing, Story and Screenplay - Written Directly for all his works. The novel the Screen- 2001: A Space Odyssey (1969); Nominated Oscar: was ranked at #4 in the Best Director- 2001: A Space Odyssey (1969); Nominated Oscar: list of the Modern Library Best Writing, Screenplay Based on Material from Another 100 Best Novels by the Medium- A Clockwork Orange (1972); Nominated Oscar: Best Modern Library. His Picture- A Clockwork Orange (1972); Nominated Oscar: Best memoir entitled Speak, Director- A Clockwork Orange (1972); Nominated Oscar: Best Memory was listed #8 on Writing, Screenplay Adapted From Other Material- Barry Lyndon the Modern Library (1976); Nominated Oscar: Best Picture- Barry Lyndon (1976); nonfiction list” Nominated Oscar: Best Director- Barry Lyndon (1976); (Wikipedia). Some of his other novels are The Defense (1934, Nominated Oscar: Best Writing, Screenplay Based on Material English trans 1964), Laughter in the Dark (1933, Eng. trans1938), from Another Medium- Full Metal Jacket (1988). Invitation to a Beheading (1936, Eng. Tr ans. 1959, The Gift (1938, Eng. Trans. 1963), The Real Life of Sebastian Knight VLADIMIR VLADIMIROVICH NABOKOV (Russian: Владимир (1941), Bend Sinister (1947), Pnin (1957), Pale Fire (1962), Ada Владимирович Набоков, (22 April 1899, Saint Petersburg —2 or Ardor: A Family Chronicle (1966). He is also the author of July 1977, Montreux) “was a multilingual Russian novelist and several short story collections, 11 volumes of poetry, a 1923 Kubrick—LOLITA—2 translation of Alice’s Adventures inWonderland into Russian, and a Soldier (1943). Won Oscar: Best Actress in a Supporting Role- several translations of Russian classics into English, several The Diary of Anne Frank (1960); Won Oscar: Best Actress in a volumes of criticism. Several volumes of autobiography, and a Supporting Role- A Patch of Blue (1966); Nominated Oscar: Best classic work on butterflies. Three volumes of Library of America Actress in a Leading Role- A Place in the Sun (1952); Nominated are devoted to his novels and memoirs. Oscar: Best Actress in a Supporting Role- The Poseidon Adventure (1973). JAMES MASON (15 May 1909, Huddersfield, Yorkshire, England, UK—27 July 1984, Lausanne, Switzerland, heart attack) acted in SUE LYON (10 July 1946, Davenport, Iowa, USA—) acted in 24 151 films, some of which were The Assisi Underground (1985), films, including Alligator (1980), End of the World (1977), Crash! The Shooting Party (1985), Yellowbeard (1983), The Verdict (1977), Invisible Strangler (1976), "Love, American Style" (2 (1982), Socrates (1982), Salem's Lot (1979), Murder by Decree episodes, 1969-1974), Una gota de sangre para morir (1979), The Boys from Brazil (1978), Heaven Can Wait (1978), amando/Clockwork Terror (1973), Tarot/Autopsy/The Magician Cross of Iron (1977), Voyage of the Damned (1976), Mandingo (1973), Evel Knievel (1971), Four Rode Out (1970), Tony Rome (1975), Gente di rispetto/The Flower in His Mouth (1975), (1967), The Flim-Flam Man (1967), 7 Women (1966), The Night Frankenstein: The True Story (1973), The MacKintosh Man of the Iguana (1964), and Lolita (1962). (1973), The Last of Sheila (1973), The Sea Gull (1968), Mayerling (1968), Georgy Girl (1966), The Blue Max (1966), "Dr. Kildare" PETER SELLERS (8 September 1925, Southsea, Hampshire, (4 episodes, 1965), Genghis Khan (1965), Lord Jim (1965), The England, UK—24 July 1980, London, England, UK, heart attack) Pumpkin Eater (1964), The Fall of the Roman Empire (1964), acted in 79 films and directed 3. Some of his notable film Lolita (1962), The Trials of Oscar Wilde (1960), "Playhouse 90" appearances were: The Fiendish Plot of Dr. Fu Manchu (1980), (5 episodes, 1957-1960), Journey to the Center of the Earth Being There (1979), The Prisoner of Zenda (1979), Revenge of the (1959), North by Northwest (1959), Island in the Sun (1957), Pink Panther (1978), Kingdom of Gifts (1978), The Pink Panther Forever, Darling (1956), 20000 Leagues Under the Sea (1954), A Strikes Again (1976), Murder by Death (1976), The Return of the Star Is Born (1954), Prince Valiant (1954), The Man Between Pink Panther (1975), Alice's Adventures in Wonderland (1972), (1953), Julius Caesar (1953), The Desert Rats (1953), Charade There's a Girl in My Soup (1970), A Day at the Beach (1970), The (1953), The Prisoner of Zenda (1952), The Desert Fox: The Story Magic Christian (1969), I Love You, Alice B. Toklas! (1968), The of Rommel (1951), Pandora and the Flying Dutchman (1951), Party (1968), Casino Royale (1967), What's New Pussycat (1965), Madame Bovary (1949), Odd Man Out (1947), The Seventh Veil A Shot in the Dark (1964), The World of Henry Orient (1964), Dr. (1945), Fanny by Gaslight/Man of Evil (1944), Secret Mission Strangelove or: How I Learned to Stop Worrying and Love the (1942), The Night Has Eyes (1942), I Met a Murderer (1939), Bomb (1964), The Pink Panther (1963), Lolita (1962), Waltz of Bees on the Boat-Deck (1939), The Moon in the Yellow River the Toreadors (1962), Only Two Can Play (1962), The (1938), Cyrano de Bergerac (1938), Return of the Scarlet Millionairess (1960), The Running Jumping & Standing Still Film Pimpernel (1937), Fire Over England (1937), The Mill on the (1960), I'm All Right Jack (1959), The Mouse That Roared (1959), Floss (1937), Secret of Stamboul (1936), Late Extra (1935). tom thumb (1958), The Smallest Show on Earth (1957), Case of Nominated Oscar: Best Actor in a Leading Role- A Star Is Born the Mukkinese Battle-Horn (1956), The Ladykillers (1955), Down (1955); Nominated Oscar: Best Actor in a Supporting Role- Among the Z Men/The Goon Show Movie (1952), Let's Go Crazy Georgy Girl (1967); Nominated Oscar: Best Actor in a Supporting (1951). Nominated Oscar: Best Short Subject, Live Action Role- The Verdict (1983). Subjects- The Running Jumping & Standing Still Film (1960); Nominated Oscar: Best Actor in a Leading Role- Dr. Strangelove SHELLEY WINTERS (18 August 1920, St. Louis, Missouri, or: How I Learned to Stop Worrying and Love the Bomb (1965); USA—14 January 2006, Beverly Hills, California, USA, natural Nominated Oscar: Best Actor in a Leading Role- Being There causes) aooered ub 157 films, including La bomba (1999), (1980). Gideon (1999), "Roseanne" (10 episodes, 1991-1996), The Portrait of a Lady (1996), Jury Duty (1995), Touch of a Stranger OSWALD MORRIS (22 November 1915, Hillingdon, Middlesex, (1990), The Delta Force (1986), Déjà Vu (1985), Fanny Hill England, UK—) was cinematographer on 57 films, among them (1983), "The Love Boat" (2 episodes, 1982), S.O.B. (1981), "Face The Dark Crystal (1982), The Great Muppet Caper (1981), Just the Music" (1 episode, 1981), "Fridays" (1 episode, 1981), The Tell Me What You Want (1980), The Wiz (1978), Equus (1977), Magician of Lublin (1979), Tentacoli/Tentacles (1977), Next Stop, The Seven-Per-Cent Solution (1976), The Man Who Would Be Greenwich Village (1976), Diamonds/Diamond Shaft/Yahlumim King (1975), The Man with the Golden Gun (1974), The Odessa (1975), Cleopatra Jones (1973), Blume in Love (1973), The File (1974), The MacKintosh Man (1973), Sleuth (1972), Fiddler Poseidon Adventure (1972), Bloody Mama (1970), Buona Sera, on the Roof (1971), Scrooge (1970), Goodbye, Mr. Chips (1969), Mrs. Campbell (1968), Wild in the Streets (1968), "Batman" (2 Oliver! (1968), Reflections in a Golden Eye (1967), The Winter's episodes, 1966), Alfie (1966), Harper (1966), A House Is Not a Tale (1967), The Taming of the Shrew (1967), Stop the World: I Home (1964),Wives and Lovers (1963), The Balcony (1963), Want to Get Off (1966), The Spy Who Came in from the Cold Lolita (1962), Let No Man Write My Epitaph (1960), Odds (1965), Life at the Top (1965), The Hill (1965), Of Human Against
Load more

Recommended publications
  • Athletic Inspiration: Vladimir Nabokov and the Aesthetic Thrill of Sports Tim Harte Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Russian Faculty Research and Scholarship Russian 2009 Athletic Inspiration: Vladimir Nabokov and the Aesthetic Thrill of Sports Tim Harte Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/russian_pubs Custom Citation Harte, Tim. "Athletic Inspiration: Vladimir Nabokov and the Aesthetic Thrill of Sports," Nabokov Studies 12.1 (2009): 147-166. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/russian_pubs/1 For more information, please contact [email protected]. Tim Harte Bryn Mawr College Dec. 2012 Athletic Inspiration: Vladimir Nabokov and the Aesthetic Thrill of Sports “People have played for as long as they have existed,” Vladimir Nabokov remarked in 1925. “During certain eras—holidays for humanity—people have taken a particular fancy to games. As it was in ancient Greece and ancient Rome, so it is in our present-day Europe” (“Braitenshtreter – Paolino,” 749). 1 For Nabokov, foremost among these popular games were sports competitions. An ardent athlete and avid sports fan, Nabokov delighted in the competitive spirit of athletics and creatively explored their aesthetic as well as philosophical ramifications through his poetry and prose. As an essential, yet underappreciated component of the Russian-American writer’s art, sports appeared first in early verse by Nabokov before subsequently providing a recurring theme in his fiction. The literary and the athletic, although seemingly incongruous modes of human activity, frequently intersected for Nabokov, who celebrated the thrills, vigor, and beauty of sports in his present-day “holiday for humanity” with a joyous energy befitting such physical activity.
    [Show full text]
  • Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation
    Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Tuomas Sibakov Master’s Thesis East Asian Studies Faculty of Humanities University of Helsinki November 2020 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Faculty of Humanities East Asian Studies Opintosuunta – Studieinriktning – Study Track East Asian Studies Tekijä – Författare – Author Tuomas Valtteri Sibakov Työn nimi – Arbetets titel – Title Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Työn laji – Arbetets art – Level Aika – Datum – Month and Sivumäärä– Sidoantal – Number of pages Master’s Thesis year 83 November 2020 Tiivistelmä – Referat – Abstract In this work I examine how imōto-moe, a recent trend in Japanese animation and manga in which incestual connotations and relationships between brothers and sisters is shown, contributes to the sexualization of girls in the Japanese society. This is done by analysing four different series from 2010s, in which incest is a major theme. The analysis is done using visual analysis. The study concludes that although the series can show sexualization of drawn underage girls, reading the works as if they would posit either real or fictional little sisters as sexual targets. Instead, the analysis suggests that following the narrative, the works should be read as fictional underage girls expressing a pure feelings and sexuality, unspoiled by adult corruption. To understand moe, it is necessary to understand the history of Japanese animation. Much of the genres, themes and styles in manga and anime are due to Tezuka Osamu, the “god of manga” and “god of animation”. From the 1950s, Tezuka was influenced by Disney and other western animators at the time.
    [Show full text]
  • Chronology of Lolita
    Chronology of Lolita CHRONOLOGY OF LOLITA This chronology is based on information gathered from the text of Nabokov’s Lolita as well as from the chronological reconstructions prepared by Carl Proffer in his Keys to Lolita and Dieter Zimmer’s online chronology at <http://www.d-e-zimmer.de/LolitaUSA/LoChrono.htm> (last accessed on No- vember 13, 2008). For a discussion of the problems of chronology in the novel, see Zimmer’s site. The page numbers in parenthesis refer to passages in the text where the information on chronology can be found. 1910 Humbert Humbert born in Paris, France (9) 1911 Clare Quilty born in Ocean City, Maryland (31) 1913 Humbert’s mother dies from a lightning strike (10) 1923 Summer: Humbert and Annabel Leigh have romance (11) Autumn: Humbert attends lycée in Lyon (11) December (?): Annabel dies in Corfu (13) 1934 Charlotte Becker and Harold E. Haze honeymoon in Veracruz, Mexico; Dolores Haze conceived on this trip (57, 100) 1935 January 1: Dolores Haze born in Pisky, a town in the Midwest (65, 46) April: Humbert has brief relationship with Monique, a Parisian prostitute (23) Humbert marries Valeria Zborovski (25, 30) 1937 Dolly’s brother born (68) 1939 Dolly’s brother dies (68) Humbert receives inheritance from relative in America (27) Valeria discloses to Humbert that she is having an affair; divorce proceedings ensue (27, 32) xv Chronology of Lolita 1940 Winter: Humbert spends winter in Portugal (32) Spring: Humbert arrives in United States and takes up job devising and editing perfume ads (32) Over next two years
    [Show full text]
  • Pedophilia, Poe, and Postmodernism in Lolita
    Nabokov’s Dark American Dream: Pedophilia, Poe, and Postmodernism in Lolita by Heather Menzies Jones A Thesis Submitted to the Department of English of the State University of New York, College at Brockport, in partial fulfillment of the requirements for the degree of MASTER OF ARTS 1995 ii Nabokov’s Dark American Dream: Pedophilia, Poe, and Postmodernism in Lolita by Heather Menzies Jones APPROVED: ________________________________________ _________ Advisor Date ________________________________________ _________ Reader ________________________________________ __________ Reader ________________________________________ __________ Chair, Graduate Committee _______________________________________ ___________ Chair, Department of English iii Table of Contents Chapter Page Introduction 1 Pedophilia and Lolita 10 Poe and Lolita 38 Postmodernism and Lolita 58 Works Cited 83 1 INTRODUCTION The following thesis about Vladimir Nabokov's Lolita first began as a paper written as an assignment for a course about postmodern American literature. In the initial paper's title there was an allusion made to the implicated reader, and the paper itself was about giving Lolita a newer and postmodern reading. To read Lolita again, years after doing so initially, was a distinctly disturbing thing to do. The cultural climate has certainly changed since the mid-1950's when the book was first published in this country, and this alone makes the rereading of this novel an engaging opportunity. Lionel Trilling wrote that Nabokov sought to shock us and that he had to stage-manage something uniquely different in order to do so. Trilling believed that the effect of breaking the taboo "about the sexual unavailability of very young girls" had the same force as a "wife's infidelity had for Shakespeare" (5).
    [Show full text]
  • The Philosophy of Stanley Kubrick the Philosophy of Popular Culture
    THE PHILOSOPHY OF STANLEY KUBRICK The Philosophy of Popular Culture The books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. The goal of this series is to demonstrate how philosophical inquiry has been reinvigo- rated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical con- cepts will be made accessible to the general reader through examples in popular culture. This series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series The Philosophy of Stanley Kubrick, edited by Jerold J. Abrams The Philosophy of Martin Scorsese, edited by Mark T. Conard The Philosophy of Neo-Noir, edited by Mark T. Conard Basketball and Philosophy, edited by Jerry L. Walls and Gregory Bassham THE PHILOSOPHY OF StaNLEY KUBRICK Edited by Jerold J. Abrams THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2007 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University.
    [Show full text]
  • Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
    1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures.
    [Show full text]
  • Stanley Kubrick & the Evolution of Critical Consensus
    Global Tides Volume 12 Article 3 5-2-2018 Stanley Kubrick & The Evolution of Critical Consensus Cote Keller Pepperdine University, [email protected] Follow this and additional works at: https://digitalcommons.pepperdine.edu/globaltides Recommended Citation Keller, Cote (2018) "Stanley Kubrick & The Evolution of Critical Consensus," Global Tides: Vol. 12 , Article 3. Available at: https://digitalcommons.pepperdine.edu/globaltides/vol12/iss1/3 This Humanities is brought to you for free and open access by the Seaver College at Pepperdine Digital Commons. It has been accepted for inclusion in Global Tides by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. Keller: Stanley Kubrick & The Evolution of Critical Consensus Stanley Kubrick’s greatness as an American director precedes him to such an extent that the virtues of his films are rarely subjected to critique. Even laymen who have not followed his career that scrupulously or may not recognize his name at all would still likely regard The Shining, 2001, and perhaps Dr. Strangelove as benchmarks of their respective genres. The influence of Kubrick on pop culture is undeniable, but his films have not always enjoyed the fine repute they cherish today, since they tended to leave the first critics who saw them divided and conflicted. Examining contemporary critiques of the director’s filmography reveals not only aspects of his technique that may have been overlooked but also insightful constants about the process of criticism and the development of consensus. One convenient way to categorize Kubrick’s works emphasizes their timeline and relationship to the Motion Picture Association of America.
    [Show full text]
  • Erysichthon Goes to Town
    Erysichthon Goes to Town James Lasdun’s Modern American Re-telling of Ovid Pippa J. Ström A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Classical Studies Victoria University of Wellington 2010 ERYSICHTHON GOES TO TOWN by Pippa J. Ström ©2010 ABSTRACT The Erysichthon of Ovid’s Metamorphoses is given, in James Lasdun’s re-telling of the story, a repeat performance of chopping down a sacred tree, receiving the punishment of insatiable hunger, selling his daughter, and eating himself. Transgressive greed, impiety, and environmental destruction are elements appearing already amongst the Greek sources of this ancient myth, but Lasdun adds new weight to the environmental issues he brings out of the story, turning Erysichthon into a corrupt property developer. The modern American setting of “Erisychthon” lets the poem’s themes roam a long distance down the roads of self- improvement, consumption, and future-centredness, which contrast with Greek ideas about moderation, and perfection being located in the past. These themes lead us to the eternally unfulfilled American Dream. Backing up our ideas with other sources from or about America, we discover how well the Erysichthon myth fits some of the prevailing approaches to living in America, which seem to have stemmed from the idea that making the journey there would lead to a better life. We encounter not only the relationship between Ovid and Lasdun’s versions of the story, but between the earth and its human inhabitants, and find that some attitudes can be traced back a long way.
    [Show full text]
  • Sex and Difference in the Jewish American Family: Incest Narratives in 1990S Literary and Pop Culture
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2018 Sex and Difference in the Jewish American Family: Incest Narratives in 1990s Literary and Pop Culture Eli W. Bromberg University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the American Studies Commons Recommended Citation Bromberg, Eli W., "Sex and Difference in the Jewish American Family: Incest Narratives in 1990s Literary and Pop Culture" (2018). Doctoral Dissertations. 1156. https://doi.org/10.7275/11176350.0 https://scholarworks.umass.edu/dissertations_2/1156 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. SEX AND DIFFERENCE IN THE JEWISH AMERICAN FAMILY: INCEST NARRATIVES IN 1990S LITERARY AND POP CULTURE A Dissertation Presented by ELI WOLF BROMBERG Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2018 Department of English Concentration: American Studies © Copyright by Eli Bromberg 2018 All Rights Reserved SEX AND DIFFERENCE IN THE JEWISH AMERICAN FAMILY: INCEST NARRATIVES IN 1990S LITERARY AND POP CULTURE A Dissertation Presented By ELI W. BROMBERG
    [Show full text]
  • LOLITA Opéra Imaginaire D’Après La Roman De Vladimir Nabokov Composé Et Arrangé Par Joshua Fineberg
    LOLITA Opéra imaginaire d’après la roman de Vladimir Nabokov composé et arrangé par Joshua Fineberg 1. Argument Spectacle multi-média pour danseurs/acteurs, voix, ensemble, électronique et vidéo Mon travail a longtemps porté sur la question des sources (modèles) de la réalité et de leurs représentations (réalisations) dans les œuvres artistiques. C'est un thème central dans toute la musique spectrale, de la synthèse orchestrale d'un trombone dans Partiels de Grisey à l'analyse/re-synthèse en temps réel de l'ensemble instrumental dans ma propre pièce Empreintes. Ce rapport (du modèle à la représentation) est presque toujours destructif. Le modèle semble pauvre une fois que l'artifice l'a révélé dans une plus riche apparence. Un « original » qui devrait résonner dans sa « légitimité » est accablé par la force de sa transcription. Pour moi, c'est là la vraie histoire racontée par Lolita de Nabokov. L’œuvre de Nabokov a suscité beaucoup de polémiques et a été adaptée en diverses réalisations dramatiques (les plus notables étant deux grands films); cependant ces adaptations se sont toutes concentrées sur ce qui est peut-être l’aspect le moins intéressant du roman – son intrigue. Pour moi, l'idée vraiment essentielle de l’œuvre est la nature en soi destructive de la transcription artistique d'un personnage, d'un événement, d'une scène ou d'un son. Transposant une adolescente réelle en une vision sublimée Humbert la tue de fait et place un double à sa place (ironiquement il la détruit assez complètement dans la réalité). Le vrai personnage féminin est vu seulement de temps en temps et à travers des aperçus furtifs (comme ses yeux rougeoyants, brillant en de rares occasions derrière un masque ornemental).
    [Show full text]
  • 3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie
    1. ANNIE HALL (1977) 11. THIS IS SPINAL Tap (1984) Written by Woody Allen and Marshall Brickman Written by Christopher Guest & Michael McKean & Rob Reiner & Harry Shearer 2. SOME LIKE IT HOT (1959) Screenplay by Billy Wilder & I.A.L. Diamond, Based on the 12. THE PRODUCERS (1967) German film Fanfare of Love by Robert Thoeren and M. Logan Written by Mel Brooks 3. GROUNDHOG DaY (1993) 13. THE BIG LEBOWSKI (1998) Screenplay by Danny Rubin and Harold Ramis, Written by Ethan Coen & Joel Coen Story by Danny Rubin 14. GHOSTBUSTERS (1984) 4. AIRplaNE! (1980) Written by Dan Aykroyd and Harold Ramis Written by James Abrahams & David Zucker & Jerry Zucker 15. WHEN HARRY MET SALLY... (1989) 5. TOOTSIE (1982) Written by Nora Ephron Screenplay by Larry Gelbart and Murray Schisgal, Story by Don McGuire and Larry Gelbart 16. BRIDESMAIDS (2011) Written by Annie Mumolo & Kristen Wiig 6. YOUNG FRANKENSTEIN (1974) Screenplay by Gene Wilder and Mel Brooks, Screen Story by 17. DUCK SOUP (1933) Gene Wilder and Mel Brooks, Based on Characters in the Novel Story by Bert Kalmar and Harry Ruby, Additional Dialogue by Frankenstein by Mary Wollstonecraft Shelley Arthur Sheekman and Nat Perrin 7. DR. STRANGELOVE OR: HOW I LEARNED TO STOP 18. There’s SOMETHING ABOUT MARY (1998) WORRYING AND LOVE THE BOMB (1964) Screenplay by John J. Strauss & Ed Decter and Peter Farrelly & Screenplay by Stanley Kubrick and Peter George and Bobby Farrelly, Story by Ed Decter & John J. Strauss Terry Southern 19. THE JERK (1979) 8. BlaZING SADDLES (1974) Screenplay by Steve Martin, Carl Gottlieb, Michael Elias, Screenplay by Mel Brooks, Norman Steinberg Story by Steve Martin & Carl Gottlieb Andrew Bergman, Richard Pryor, Alan Uger, Story by Andrew Bergman 20.
    [Show full text]
  • 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
    [Show full text]