The Bloomsbury Companion to Stanley Kubrick

397 Pages·2021·19.729 MB·English

by  Nathan Abrams and I.Q. Hunter

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The Bloomsbury Companion

to Stanley Kubrick
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The Bloomsbury Companion to

Stanley Kubrick
Edited by
Nathan Abrams and I.Q. Hunter
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BLOOMSBURY ACADEMIC
Bloomsbury Publishing Inc
1385 Broadway, New York, NY 10018, USA
BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of
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First published in the United States of America 2021
Volume Editor’s Part of the Work © Nathan Abrams and I.Q. Hunter
Each chapter © of Contributors
For legal purposes the Acknowledgments on p. xvii constitute an extension
of this copyright page.
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ISBN: HB: 978-1-5013-4362-9
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Contents

List of Illustrations viii
Notes on Contributors x
Acknowledgments xvii
Introduction Nathan Abrams and I.Q. Hunter 1
Part 1 Industry 11
Introduction
Nathan Abrams and I.Q. Hunter
1. Kubrick and Production James Fenwick 15
2. Kubrick and Authorship Rod Munday 25
3. Kubrick and Adaptation Graham Allen 35
4. Kubrick and Collaboration Manca Perko 45
5. Kubrick and Britain Matthew Melia 55
6. Kubrick and Translation Serenella Zanotti 65
7. Kubrick and the Critics Gregory Frame 75
Part 2 Sound and Image 85
Introduction
Nathan Abrams and I.Q. Hunter
8. Kubrick and Photography Philippe Mather 87
9. Kubrick and Framing Robert P. Kolker 99
10. Kubrick and Formalism Rodney F. Hill 109
11. Kubrick and Acting Ernesto R. Acevedo- Muñoz 121
12. Kubrick and Art Dijana Metlić 133
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13. Kubrick and Composing Kate McQuiston 147
14. Kubrick and Music Christine Lee Gengaro 157
Part 3 Gender and Identity 167
Introduction
Nathan Abrams and I.Q. Hunter
15. Kubrick and Feminism Karen A. Ritzenhoff 169
16. Kubrick, Gender, and Sexuality Mick Broderick 179
17. Kubrick, Marriage, and Family Joy McEntee 191
18. Kubrick and Jewishness Marat Grinberg 203
19. Kubrick and the Holocaust Geoffrey Cocks 213
Part 4 Thematic Approaches 225
Introduction
Nathan Abrams and I.Q. Hunter
20. Kubrick, Optimism, and Pessimism Dominic Lash 227
21. Kubrick and Philosophy Jerold J. Abrams 239
22. Kubrick and Time Elisa Pezzotta 249
23. Kubrick and Madness Lawrence Ratna 259
24. Kubrick and Psychoanalysis Nathan Abrams and I.Q. Hunter 271
25. Kubrick and Childhood Nathan Abrams 281
26. Kubrick and Genre Jeremi Szaniawski 291
Part 5 Researching Kubrick 303
Introduction
Nathan Abrams and I.Q. Hunter
27. Kubrick and the Archive Georgina Orgill and Richard Daniels 305
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Contents vii
28. Kubrick’s Reading and Research Catriona McAvoy 317
29. Kubrick’s Unrealized Projects Peter Krämer and Filippo Ulivieri 327
Bibliography 337
Filmography 367
Index 373
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Illustrations
4.1 Fear and Desire’s cast and crew 47
4.2 Stanley Kubrick and Kirk Douglas on the set of Spartacus 49
4.3 Stanley Kubrick, the crew, and Shelley Duvall on the set of The Shining 50
8.1 Postwar photojournalism might include “defects” such as lens flares as
a sign of documentary realism, a technique adopted by Kubrick in his
film career 91
8.2 Kubrick also learned from Look magazine’s use of trick photography to
create striking visual contrasts 92
8.3 Kubrick experimented with strobe lights during the filming of 2001: A
Space Odyssey, perhaps recalling his former colleague Frank Bauman’s
photograph of a curveball, seemingly floating in space 94
11.1 Patrick Magee in A Clockwork Orange 128
11.2 Jack Nicholson in The Shining 129
11.3 Joe Turkel in The Shining 130
12.1 Affection for the eighteenth- century sensibility in Barry Lyndon 134
12.2 Symmetrical framing and one- point perspective: Architecture of
straight lines in the Overlook Hotel in The Shining 137
12.3 Rapid montage and insertion of paintings into film shots: Fragment of
the Catlady sequence in A Clockwork Orange 140
12.4 Kubrick and postmodernism: Bowman in a “cyber Rococo” room in
2001: A Space Odyssey 141
12.5 Kubrick and American pop art: The mushroom cloud at the end of
Dr. Strangelove 143
17.1 Spartacus and Antoninus swear filial love to one another in Spartacus 193
17.2 Caring relationships between men displace the heteronormative in A
Clockwork Orange 194
17.3 Barry Lyndon dramatizes the loss of father figures 196
19.1 The Deutsches Theater in the occupied Netherlands 215
19.2 Paul Peel in After the Bath, 1890 220
19.3 Wendy, Danny, and After the Bath 221
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Illustrations ix
20.1 2001: A Space Odyssey: “Fledgling predator” or “the greatest moment of
optimism”? 230
20.2 Barry Lyndon: Does hindsight make the prospect of the French
Revolution optimistic or pessimistic? 231
20.3 Eyes Wide Shut: Hard won optimism 235