Stanley Kubrick/Filmography: Difference between revisions

From Citizendium
Jump to navigation Jump to search
imported>Jeffrey Scott Bernstein
No edit summary
imported>John Stephenson
(moved to main and other subpages)
 
(37 intermediate revisions by 6 users not shown)
Line 1: Line 1:
'''Stanley Kubrick''' (July 26, 1928 – March 7, 1999) was an American-born filmmaker who co-wrote, produced, and directed some of most highly regarded and innovative films ever to be financed by Hollywood studios. For decades now Kubrick has been consistently acclaimed by the world’s most influential film critics and scholars as one of the greatest filmmakers of all time.  
{{subpages}}
Stanley Kubrick co-wrote, produced, and directed some of the most highly regarded and innovative films ever to be financed by Hollywood studios. For decades now Kubrick has been consistently acclaimed by the world’s most influential film critics and scholars as one of the greatest film-makers of all time.  
{{col-begin}}
{{col-break}}
{{r|Day of the Fight}}
{{r|Flying Padre}}
{{r|Fear and Desire}}
{{r|The Seafarers}}
{{r|Killer's Kiss}}
{{r|The Killing (film)|The Killing}}
{{r|Paths of Glory}}
{{r|Spartacus (film)|Spartacus}}
{{col-break}}
{{r|Lolita (1962 film)|Lolita}}
{{r|Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb|Dr. Strangelove}}
{{r|2001: A Space Odyssey (film)|2001: A Space Odyssey}}
{{r|A Clockwork Orange (film)|A Clockwork Orange}}
{{r|Barry Lyndon}}
{{r|The Shining (film)|The Shining}}
{{r|Full Metal Jacket}}
{{r|Eyes Wide Shut}}
{{col-end}}
{{TOC|right}}
==''The Killing'' (1956)==




==''Paths of Glory'' (1957)==


== Introduction to Kubrick (1): Kubrick’s impact on world cinema. ==


A telling example of Kubrick’s impact on world cinema is the following. In 2002, the British film journal Sight & Sound asked 145 film critics and scholars and 108 film directors from around the world to each submit a list of ten films deemed worthy of inclusion in an ultimate “best films of all time” list. When the lists were collated and the votes tallied, Kubrick’s 2001: A Space Odyssey occupied the sixth place on the critics’ list, while Dr. Strangelove occupied the fifth place on the directors’ list. But even this extraordinary achievement is not the most telling point. What may have never before been pointed out is this: Kubrick was the one director with the most variety of films cited in the original hundreds of lists (which were published in the original September 2002 print edition of Sight & Sound). For example, although Citizen Kane graced the top spot on both critics’ and directors’ lists, taking the over two hundred lists as a whole, Kubrick himself via his other films appeared more often than Kane’s director Orson Welles. Kubrick’s name was “spread thin” because some critics cited 2001, while others cited Dr. Strangelove, or A Clockwork Orange, or Barry Lyndon, or The Shining. In the complete lists published in Sight & Sound, Kubrick had more different individual works cited than any other director’s. This can only mean that Stanley Kubrick produced a body of work that, at least according to those participating in the Sight and Sound poll, is second to none.
==''Spartacus'' (1960)==
The story of the slave and gladiator Spartacus, who leads a organized slave rebellion against the Roman empire. Stars Kirk Douglas and Lurence Olivier


==''Lolita'' (1962)==


==Introduction to Kubrick (2): How might Kubrick stand apart from other film geniuses?==
''The story of a European gentleman scholar's doomed love for a young American teenage girl.''


Kubrick’s films, especially from 2001: A Space Odyssey on, exhibit conceptual depth and complexity which distinguish them as exemplary models of narrative art. 2001, for example, is concerned with such philosophical and scientific subjects as cosmic time and human evolution, subjects which films only extremely infrequently attempt to deal with. However, in Kubrick’s intellectual and philosophical depth he is far from alone; other highly acclaimed filmmakers such as Ingmar Bergman and Luis Buñuel had consistently produced major film works of commensurate philosophical complexity. So what, arguably, sets Kubrick apart from the rest of the world’s greatest filmmakers? It is precisely this: Kubrick’s utter command of the technical aspect of the film medium. In every film Kubrick made from 2001 on, he pioneered new technological techniques to realize his vision. In A Clockwork Orange, for example, he pioneered a new use of sound recording; in Barry Lyndon, he pioneered the use of a new type of lens; in Full Metal Jacket, he pioneered the use of a new type of shutter for the camera. It is the fusion of philosophical complexity and technical command (in so many of his films) that, arguably, sets Kubrick apart from all other of the world’s greatest filmmakers. (One can equate this to William Shakespeare’s fusion, in his plays, of his mastery of dramatic structure with his mastery of the linguistic form.) It must be stressed that Kubrick’s technological advances were never merely for the sake of showmanship; Kubrick always employed his technological advances for the sake of the story being told. In The Shining, for example, Kubrick brings the camera into the story, as it were; that is to say, just as one can pause over Shakespeare’s language and hear resonances in the poetry which parallel and enhance the dramatic action which the poetry is bringing into being, so in The Shining the camera not only allows the story to be told but also contributes actively to the complexity of the story (through the viewer’s awareness of the repetition of many of the camera’s movements, for example; the repetition of specific camera moves creates thematic connections between different scenes of the film); while in Barry Lyndon, Kubrick’s clever multifarious employment of the zoom lens adds a surprising number of conceptual resonances to the dramatic action which contribute to the overall meaning production of the story; and in Eyes Wide Shut, Kubrick uses light reflections on the camera lens (such as lens flares) to suggest thematic elements (i.e., so-called “symbolism”) that enhance the story being told through the lens. In short, when the viewer pays attention to the technical aspects of a Kubrick film, the story (of emotional human concerns) is not thereby lost but enhanced. In virtually all films that are made, the film technology that brings these films into being is meant to remain “unnoticed” as it were (as the “tools” that made the product); when viewing Kubrick films, however, the viewer’s awareness of the technology is a part of the overall film experience. A Kubrick film is a dense cerebral cinematic phenomenon.
===Details===


Stanley Kubrick's film adaptation of ''Lolita'', not to be confused with the Adrian Lyne 1997 rendition starring Jeremy Irons, is widely regarded as one of the most controversial and deviant films in American Cinematic history.


The story focuses around the sympathetic portrayal of a middle-aged professor, who has a love affair with a 14-year-old he meets when moving to the United States.  The cinematography, editing, and acting are all rated very well, as they are with most of Kubrick's body of work; but what makes this film unique is how it stays loyal to the theme of the book with a topic as socially unacceptable as pedaphelia.


:::Author’s note: This is my first stab at an introduction to this page. If I were a teacher I’d grade it as a C. But what I am searching for is a way to present the general theme in a way different to those already established ways that are to be found on other Internet-based [encyclopedias]. Perhaps I am completely in the wrong here; and so I shall stop now, and await the input of subsequent authors, who might (and quite rightly?) scrap this and start anew.
==''Dr. Strangelove'' (1964)==


I thought a thematic introduction would be more dynamic than simply leaping into “the early years of . . .”.  
''A black comedy of the Cold War about a U.S. General who goes mad and singlehandedly attempts to destroy the U.S.S.R. in a nuclear holocaust.''


I also need to learn how to add links to the internal prose. Such as to the 2002 Sight and Sound poll:


http://www.bfi.org.uk/sightandsound/topten/
==''2001: A Space Odyssey'' (1968)==


I myself wrote an essay, “The Zooms in Barry Lyndon”; but can an author cite his own work in this setting?
''A four-part science fiction story that spans millions of years and millions of light years, concerning three mysterious monoliths, artifacts from an alien civilization, which point humanity first toward the birth of logic and reason, then toward deep space, and finally to an alien world in an unknown part of the universe, where an astronaut, the representative of the human race, is reborn into a new, higher entity.''


http://www.jeffreyscottbernstein.com/kubrick/images/BARRY%20LYNDON.pdf


==''A Clockwork Orange'' (1971)==


''A satiric Bildungsroman of a dystopic future, in which a young man with artistic pretentions wreaks terrible violence while on drugs as a pastime, and the severe and surreal consequences that result when a government-sponsored medical program attempts to cure his violent tendencies with an experimental drug and film-watching sessions.''


==''Barry Lyndon'' (1975)==


== Notable feature films ==
''A Bildungsroman, road movie, and costume drama telling the life story of a sensitive eighteenth-century Irishman, from his first love to his rise in English society to his eventual dismal downfall. Based on the novel [[The Luck of Barry Lyndon]] by  [[William Makepeace Thackeray]].''
*[[Killer's Kiss]] (1955)
*[[The Killing]] (1956)
*[[Paths of Glory]] (1957)
*[[Spartacus]] (1960)
*[[Lolita]] (1962)
*[[Dr. Strangelove or: How I Learned to Stop Worrying and Love The Bomb]] (1964)
*[[2001: A Space Odyssey]] (1968)
*[[A Clockwork Orange]] (1971)
*[[Barry Lyndon]] (1975)
*[[The Shining]] (1980)
*[[Full Metal Jacket]] (1987)
*[[Eyes Wide Shut]] (1999)


[[Category:CZ Live|Kubrick, Stanley]]
==''The Shining'' (1980)==
[[Category:Media Workgroup|Kubrick, Stanley]]
 
''A horror tale about the caretaker of a hotel who slowly loses his mind and turns against his wife and child, attempting to emulate a terrible murder from the hotel's past.''
 
==''Full Metal Jacket'' (1987)==
 
''A war movie that follows a set of recruits through stages of the Vietnam War, from boot camp to a somber conclusion in a bombed-out deserted city.''
 
==''Eyes Wide Shut'' (1999)==
 
''The story of a man whose sexual frustration and marital woes lead him into dangerous and absurd situations over three days in contemporary Manhattan.''
 
==Notable Abandoned Projects==
 
=== ''Napoleon'' Screenplay (1969) ===
 
=== ''A.I.: Artificial Intelligence'' ===
 
''A.I.: Artificial Intelligence'' was a project only partially developed in concept before Kubrick's death.  Steven Spielberg would go on to produce the film using the few notes Kubrick left behind about the project.

Latest revision as of 16:07, 12 March 2021

This article is developing and not approved.
 Main Article
 Discussion
Related Articles  [?]
Bibliography  [?]
External Links  [?]
Citable Version  [?]
Filmography [?]
 
https://en.citizendium.org/wiki/index.php?title=Stanley_Kubrick/Filmography&printable=yes
Filmography of Stanley Kubrick.

Stanley Kubrick co-wrote, produced, and directed some of the most highly regarded and innovative films ever to be financed by Hollywood studios. For decades now Kubrick has been consistently acclaimed by the world’s most influential film critics and scholars as one of the greatest film-makers of all time.

The Killing (1956)

Paths of Glory (1957)

Spartacus (1960)

The story of the slave and gladiator Spartacus, who leads a organized slave rebellion against the Roman empire. Stars Kirk Douglas and Lurence Olivier

Lolita (1962)

The story of a European gentleman scholar's doomed love for a young American teenage girl.

Details

Stanley Kubrick's film adaptation of Lolita, not to be confused with the Adrian Lyne 1997 rendition starring Jeremy Irons, is widely regarded as one of the most controversial and deviant films in American Cinematic history.

The story focuses around the sympathetic portrayal of a middle-aged professor, who has a love affair with a 14-year-old he meets when moving to the United States. The cinematography, editing, and acting are all rated very well, as they are with most of Kubrick's body of work; but what makes this film unique is how it stays loyal to the theme of the book with a topic as socially unacceptable as pedaphelia.

Dr. Strangelove (1964)

A black comedy of the Cold War about a U.S. General who goes mad and singlehandedly attempts to destroy the U.S.S.R. in a nuclear holocaust.


2001: A Space Odyssey (1968)

A four-part science fiction story that spans millions of years and millions of light years, concerning three mysterious monoliths, artifacts from an alien civilization, which point humanity first toward the birth of logic and reason, then toward deep space, and finally to an alien world in an unknown part of the universe, where an astronaut, the representative of the human race, is reborn into a new, higher entity.


A Clockwork Orange (1971)

A satiric Bildungsroman of a dystopic future, in which a young man with artistic pretentions wreaks terrible violence while on drugs as a pastime, and the severe and surreal consequences that result when a government-sponsored medical program attempts to cure his violent tendencies with an experimental drug and film-watching sessions.

Barry Lyndon (1975)

A Bildungsroman, road movie, and costume drama telling the life story of a sensitive eighteenth-century Irishman, from his first love to his rise in English society to his eventual dismal downfall. Based on the novel The Luck of Barry Lyndon by William Makepeace Thackeray.

The Shining (1980)

A horror tale about the caretaker of a hotel who slowly loses his mind and turns against his wife and child, attempting to emulate a terrible murder from the hotel's past.

Full Metal Jacket (1987)

A war movie that follows a set of recruits through stages of the Vietnam War, from boot camp to a somber conclusion in a bombed-out deserted city.

Eyes Wide Shut (1999)

The story of a man whose sexual frustration and marital woes lead him into dangerous and absurd situations over three days in contemporary Manhattan.

Notable Abandoned Projects

Napoleon Screenplay (1969)

A.I.: Artificial Intelligence

A.I.: Artificial Intelligence was a project only partially developed in concept before Kubrick's death. Steven Spielberg would go on to produce the film using the few notes Kubrick left behind about the project.

Retrieved from "https://citizendium.org/wiki/index.php?title=Stanley_Kubrick/Filmography&oldid=18566"