Category Archive for: ‘Issue 42 – Post Kubrick Dossier’

From imitation to homage in film, television, advertising, computer games and music video, in the decades following his death the cross-generational and international influence of Stanley Kubrick has not waned but rather continues to grow. [1] Yet, as Paul Thomas Anderson has confided, in relation to just one aspect of cinematic craft, the creative shadow of such a figure can …

Parallel to the exponential growth in academic interest in Stanley Kubrick, brought about by the opening of his archive at the University of Arts London (UAL) in 2007, there has been an increase in Kubrick themed exhibitions, academic, artistic or otherwise. Behind both trends is the idea of uncovering so-called new perspectives about Kubrick and his films. What follows is …

The call for papers for this special issue about Stanley Kubrick’s impact on contemporary culture listed as possible topics not only fairly predictable items such as “[f]ilmmakers and their works influenced by Kubrick” and “Kubrick works completed, or to be completed, by others”, but also, in a somewhat surprising self-reflective move, “Kubrick scholarship and the proliferation of revisionist works”. It …

On a corner of the relatively unknown convergence of five major London roads that is Elephant and Castle stands the London College of Communication. The building, a 1960s modernist construction of steel, glass and concrete is fittingly reminiscent of the world inhabited by Alex DeLarge in Stanley Kubrick’s A Clockwork Orange (1971); fitting because the college is now home to the …

Immediately after Stanley Kubrick’s death in March 1999, as if a veto had been lifted, many people began sharing their experiences with the famously reclusive director: writers Sara Maitland, Candia McWilliam, Brian Aldiss and Ian Watson penned individual pieces; [1] studio executives’ and actors’ reminiscences were edited in collated articles, [2] and collaborators were interviewed worldwide [3] in a media …

In his essay “Adaptation”, Mark Brokenshire suggests “Adaptation, as defined by the Oxford English dictionary, has a plurality of meanings most of which allude to the process of changing to suit an alternative purpose, function or environment”. [1] Citing the literary critic and scholar Linda Hutcheon, he states: ‘We experience adaptation as palimpsests through our memory of other works that …

There are some Kubrickian images that just stand out. A dynamic helicopter shot over a snow-laden landscape, the perspective suggesting impending danger, which then cuts to a building in the middle of nowhere partly submerged by snow. A man plays chess with a talking computer. The machine wins the game but is vengefully disabled by its human opponent. Elsewhere a …

In 2004 Matt Groening, the chief creator of the television series The Simpsons, published an eclectic list of his “100 Favourite Things”. High on the inventory were two films by Stanley Kubrick, placed equally at number 16: Lolita (1962) and Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (1963, herein referred to as Dr. Strangelove). …