Download Depth of Field: Stanley Kubrick, Film, and the Uses of by Geoffrey Cocks, Visit Amazon's James Diedrick Page, search PDF

By Geoffrey Cocks, Visit Amazon's James Diedrick Page, search results, Learn about Author Central, James Diedrick, , Glenn Perusek

    Director of a few of the main debatable movies of the 20 th century, Stanley Kubrick created a name as a Hollywood outsider in addition to a cinematic genius. His varied but quite small oeuvre—he directed in simple terms 13 movies in the course of a profession that spanned greater than 4 decades—covers a huge variety of the topics that formed his century and keeps to form the twenty-first: warfare and crime, gender family members and sophistication clash, racism, and the destiny of person company in a global of accelerating social surveillance and control. 
    In Depth of Field, major screenwriters and students study Kubrick's movies from numerous views. They study such groundbreaking classics as Dr. Strangelove and 2001: an area Odyssey and later movies whose serious reputations are nonetheless in flux. Depth of box ends with 3 viewpoints on Kubrick's ultimate movie, Eyes extensive Shut, putting it within the contexts of movie heritage, the background and idea of psychoanalysis, and the sociology of intercourse and gear. Probing Kubrick's entire physique of labor, Depth of Field is the 1st really multidisciplinary research of 1 of the main cutting edge and debatable filmmakers of the 20 th century.

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Johnson, “Writing for the Movies,” 35. 42. “Frederic Raphael, Screenwriter,” in Ciment, Kubrick, 269–71. 43. See also Michael Harrington, “Painful Weight of Pretension,” The Spectator, July 24, 1999, 36–37. 44. Johnson, “Stanley Kubrick (1928–1999),” 28. 45. Leonard F. Wheat, Kubrick’s 2001: A Triple Allegory (Lanham, MD: Scarecrow, 2000). 46. Elise F. Knapp and James Pegolotti, “Music in Kubrick’s Barry Lyndon: ‘A Catalyst to Manipulate,’” Eighteenth-Century Life 19 (May 1995): 92–97. 47. John Engell, “Barry Lyndon, a Picture of Irony,” Eighteenth-Century Life 19 (May 1995): 83–88.

Clarke, on set during the shooting in England, continued to write, consult, and answer Kubrick’s innumerable questions. Clarke even functioned as an emissary to the director, Xying to MGM in Hollywood to calm the jittery nerves of anxious executives who had been kept in the dark about the project. Kubrick and Clarke had an agreement allowing Clarke to publish the novel under his own name. During production Clarke Wnished what he considered the Wnal draft of the novel, but Kubrick had never intended for Clarke to publish the novel before his Wlm was Wnished and released.

Kubrick and Harris wisely decided to give Nabokov solo credit to preserve the literary quotient of the project and to avoid personalizing responsibility for the explosive content. On March 1, 1960, Nabokov and Kubrick met in Hollywood to exchange ideas about the screen adaptation of Lolita. The next day Nabokov sat on a public park bench in Beverly Hills mentally constructing the screenplay. Over the next several months Kubrick and Nabokov met infrequently. Outlines, criticism, and advice from the director eventually stopped coming.

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