Stanley Kubrick STANLEY KUBRICK
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Kubrick and Production
Kubrick and Production FENWICK, James <http://orcid.org/0000-0002-1261-7150> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26322/ 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 (2021). Kubrick and Production. In: HUNTER, I.Q. and ABRAMS, Nathan, (eds.) The Bloomsbury Companion to Stanley Kubrick. https://www.bloomsbury.com/us/the-bloomsbury-companion-to-stanley-kubrick- 9781501343636/, Bloomsbury. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Kubrick and Production James Fenwick Across the thirteen feature films that Stanley Kubrick directed, he received the credit of producer on nine of them. Moreover, if one considers the partnership with James B. Harris between 1955 and 1963, during which Harris produced three films as part of their Harris Kubrick Pictures Corporation, Kubrick was arguably involved as a producer on twelve of his own feature films. He was very much his own producer throughout most of his career, though with varying degrees of creative and business control at specific time periods. In the earliest years as a producer, Kubrick operated at a low-budget level of independence, with little influence over the way his films were handled by the studios to which he sold them. By the late 1960s, following the critical and commercial success of 2001: A Space Odyssey, Kubrick had established himself as one of the most powerful and potent producing brands in Hollywood. -
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. -
THE SHINING / 1980 (Shining)
CINEMATECA PORTUGUESA–MUSEU DO CINEMA REVISITAR OS GRANDES GÉNEROS - A COMÉDIA (PARTE III): O RISO 18 de dezembro de 2020 THE SHINING / 1980 (Shining) um filme de Stanley Kubrick Realização: Stanley Kubrick / Argumento: Stanley Kubrick e Diane Johnson, segundo o romance homónimo de Stephen King / Fotografia: John Alcott / Steadicam: Garrett Brown / Direcção Artística: Roy Walker / Figurinos: Milena Canonero / Música: original de Wendy Carlos e rachel Elkind; e Ligeti, Bartok, Penderecki / Som: Ivan Sharrock / Montagem: Ray Lovejoy / Intérpretes: Jack Nicholson (Jack Torrance), Shelley Duvall (Wendy Torrance), Danny Lloyd (Danny Torrance), Scatman Crothers (Hallorann), Barry Nelson (Stuart Ullman), Philip Stone (Grady), Joe Turkel (Lloyd), Lia Beldam (rapariga na banheira), Billie Gibson (velha na banheira), Barry Dennen (Watson), David Baxt e Manning Redwood (guardas florestais), Lisa e Louise Burns (as filhas de Grady), Alison Coleman (a secretária), Burnell Tucker (um polícia), Jana Sheldon (uma empregada), Kate Phelps (a recepcionaista), Norman Gay (o cliente ferido do hotel). Produção: Stanley Kubrick, Warner Bros, Hawk Films / Cópia: DCP, colorida, com legendagem electrónica em português, 143 minutos / Estreia Mundial: Junho de 1980 / Estreia em Portugal: Monumental e Terminal, em 20 de Novembro de 1980. _____________________________ Os intervalos entre os filmes de Kubrick vão-se alargando cada vez mais a partir de Barry Lyndon. Entre este filme e The Shining medeiam cinco anos, sete são os que vão do segundo a Full Metal Jacket e doze os que separam este filme da derradeira obra de Kubrick, Eyes Wide Shut. Curiosamente o tamanho dos intervalos não corresponde às expectativas criadas por cada filme. Singularmente estes vão-se tornando progressivamente mais “simples” e podem incluir-se mais facilmente nos “géneros” clássicos: o filme de terror (The Shining) e o de guerra (Full Metal Jacket), mesmo Eyes Wide Shut entre os melodramas oníricos. -
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. -
Stanley Kubrick: a Textual and Contextual Analysis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Martin Burget Stanley Kubrick: A Textual and Contextual Analysis Bachelor’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2011 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………… Martin Burget 2 I would like to thank my supervisor for his valuable advice and guidance through the writing process. 3 Table of Contents Introduction....................................................................................................5 1. Few Words About Kubrick and His works....................................................7 2. 2001 in the context of science fiction genre.................................................11 3. The Philosophy of 2001................................................................................21 4. Analysis........................................................................................................ 26 4.1. Dawn of Man........................................................................................26 4.2 The Jupiter Mission..............................................................................38 4.3 Jupiter and Beyond the Infinite............................................................43 Conclusion.....................................................................................................48 Works Cited...................................................................................................51 -
Depth of Field
Depthof Field Depthof Field S tanley K ubrick, Film, and the Uses of History edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek the university of wisconsin press The University of Wisconsin Press 1930 Monroe Street Madison, Wisconsin 53711 www.wisc.edu/wisconsinpress/ 3 Henrietta Street London wc2e 8lu, England Copyright © 2006 The Board of Regents of the University of Wisconsin System All rights reserved 54321 Printed in the United States of America Library of Congress Cataloging-in-Publication Data Depth of Weld : Stanley Kubrick, Wlm, and the uses of history / edited by GeoVrey Cocks, James Diedrick, and Glenn Perusek. p. cm.—(Wisconsin Wlm studies) Includes bibliographical references and index. isbn-13: 978-0-299-21610-8 (hardcover : alk. paper) isbn-10: 0-299-21610-1 (hardcover : alk. paper) isbn-13: 978-0-299-21614-6 (pbk. : alk. paper) isbn-10: 0-299-21614-4 (pbk. : alk. paper) 1. Kubrick, Stanley—Criticism and interpretation. I. Cocks, GeoVrey. II. Diedrick, James. III. Perusek, Glenn. IV. Series. pn1998.3.k83d47 2006 791.4302´33´092—dc22 2005022821 On s’engage et puis on voit. —napoleon The strong do what they can and the weak suVer what they must. —thucydides In the most general sense of progressive thought, the Enlightenment has always aimed at liberating men from fear and establishing their sovereignty. Yet the fully enlightened earth radiates disaster triumphant. —theodor adorno and max horkheimer Contents Acknowledgments ix Introduction: Deep Focus 3 geoffrey cocks, james diedrick, and glenn perusek First Take: Words and Pictures The Written Word and the Very Visual Stanley Kubrick 31 vincent lobrutto Writing The Shining 55 diane johnson The PumpkiniWcation of Stanley K. -
Notes on the Politics of the <Em>Auteur</Em>: Stanley Kubrick
Colby College Digital Commons @ Colby Honors Theses Student Research 2013 Notes on the Politics of the Auteur: Stanley Kubrick, Wes Anderson, and the Spectator Michael Perreault Colby College Follow this and additional works at: https://digitalcommons.colby.edu/honorstheses Part of the Film and Media Studies Commons Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation Perreault, Michael, "Notes on the Politics of the Auteur: Stanley Kubrick, Wes Anderson, and the Spectator" (2013). Honors Theses. Paper 694. https://digitalcommons.colby.edu/honorstheses/694 This Honors Thesis (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Colby. Notes on the Politics of the Auteur: Stanley Kubrick, Wes Anderson, and the Spectator By: Michael Perreault Honors Thesis Colby College Independent Study Program Advisor: Steve Wurtzler © 2013 Table of Contents Introduction .......................................................................................................................................................... 3 Part One: Kubrick, Text, Affect 1.1. Dr. Strangelove, or: How I Learned to Stop Worrying and Love the [Sign] .......................... 9 1.2. La Politique des -
Stanley Kubrick: Producers and Production Companies
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. Finally, the research will move to examine the Jan Harlan years (1975-1999), a period in which Kubrick’s production rate slowed markedly.