Carolyn Strange
- Published in print:
- 2012
- Published Online:
- November 2015
- ISBN:
- 9780231153591
- eISBN:
- 9780231526975
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231153591.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter examines the relevance of Stanley Kubrick’s 1971 film A Clockwork Orange in light of the revival of torture during the global war on terror. The film’s casting choices, musical ...
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This chapter examines the relevance of Stanley Kubrick’s 1971 film A Clockwork Orange in light of the revival of torture during the global war on terror. The film’s casting choices, musical inventiveness, and cinematic experimentation made it a complex, multilayered text without crudely drawn lines between good and evil. Some questioned the clarity of its message, whereas others welcomed Kubrick’s critique of the liberal state’s capacity to justify rights violations. This chapter argues that A Clockwork Orange operates as “art against torture” and that it indicts state terror. It describes the Ludovico Technique—used to domesticate the film’s main character Alex DeLarge—as an example of techniques employed by the state (including drug therapy) to “control the deviant, the criminal, and the mentally ill”.Less
This chapter examines the relevance of Stanley Kubrick’s 1971 film A Clockwork Orange in light of the revival of torture during the global war on terror. The film’s casting choices, musical inventiveness, and cinematic experimentation made it a complex, multilayered text without crudely drawn lines between good and evil. Some questioned the clarity of its message, whereas others welcomed Kubrick’s critique of the liberal state’s capacity to justify rights violations. This chapter argues that A Clockwork Orange operates as “art against torture” and that it indicts state terror. It describes the Ludovico Technique—used to domesticate the film’s main character Alex DeLarge—as an example of techniques employed by the state (including drug therapy) to “control the deviant, the criminal, and the mentally ill”.
John Orr
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748640140
- eISBN:
- 9780748671090
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640140.003.0008
- Subject:
- Film, Television and Radio, Film
Stanley Kubrick had settled in England to film big pictures that revolutionised the genre and indeed cinema itself. Located in London, the self-exiled Jerzy Skolimowski tended to live from hand to ...
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Stanley Kubrick had settled in England to film big pictures that revolutionised the genre and indeed cinema itself. Located in London, the self-exiled Jerzy Skolimowski tended to live from hand to mouth, was nomadic like Polanski, and chased money and producers everywhere for independent, on-the-hoof projects. Yet both were to the 1970s what Michel Angelo Antonioni, Joseph Losey and Roman Polanski had been to the 1960s in British cinema: visionaries with an expatriate eye who got under the skin of the indigenous culture and its many complexities. While Kubrick and Skolimowski are at opposite ends of the modernist spectrum, they both play a crucial part in the evolution of British cinema. In the relativistic world of artistic modernism, it is surprising that what drives Kubrick much of the time is something absolute: the existence in human affairs of original evil. This chapter looks at Kubrick's films A Clockwork Orange and Barry Lyndon as well as those of Skolimowski such as Knife in the Water, Deep End, The Shout, Moonlighting and Success is the Best Revenge.Less
Stanley Kubrick had settled in England to film big pictures that revolutionised the genre and indeed cinema itself. Located in London, the self-exiled Jerzy Skolimowski tended to live from hand to mouth, was nomadic like Polanski, and chased money and producers everywhere for independent, on-the-hoof projects. Yet both were to the 1970s what Michel Angelo Antonioni, Joseph Losey and Roman Polanski had been to the 1960s in British cinema: visionaries with an expatriate eye who got under the skin of the indigenous culture and its many complexities. While Kubrick and Skolimowski are at opposite ends of the modernist spectrum, they both play a crucial part in the evolution of British cinema. In the relativistic world of artistic modernism, it is surprising that what drives Kubrick much of the time is something absolute: the existence in human affairs of original evil. This chapter looks at Kubrick's films A Clockwork Orange and Barry Lyndon as well as those of Skolimowski such as Knife in the Water, Deep End, The Shout, Moonlighting and Success is the Best Revenge.
Larry Ceplair and Christopher Trumbo
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813146805
- eISBN:
- 9780813154770
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813146805.003.0018
- Subject:
- Film, Television and Radio, Film
Trumbo’s major breakthrough occurred when he was assigned to adapt Howard Fast’s historical novel about the great slave uprising against the Roman Empire. To maintain his vision of the movie, he ...
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Trumbo’s major breakthrough occurred when he was assigned to adapt Howard Fast’s historical novel about the great slave uprising against the Roman Empire. To maintain his vision of the movie, he waged a series of battles against director Stanley Kubrick and some of the actors. As part of that campaign, he wrote some of his most scintillating analyses and employed some of his best maneuvers to earn a screen credit.Less
Trumbo’s major breakthrough occurred when he was assigned to adapt Howard Fast’s historical novel about the great slave uprising against the Roman Empire. To maintain his vision of the movie, he waged a series of battles against director Stanley Kubrick and some of the actors. As part of that campaign, he wrote some of his most scintillating analyses and employed some of his best maneuvers to earn a screen credit.
Joseph McBride
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781604738360
- eISBN:
- 9781604738377
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604738360.003.0019
- Subject:
- Film, Television and Radio, Film
This chapter describes Spielberg’s support for Democratic candidates, especially Presidents Bill Clinton and Barack Obama; his family life; the movies made by DreamWorks; his friendship with Stanley ...
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This chapter describes Spielberg’s support for Democratic candidates, especially Presidents Bill Clinton and Barack Obama; his family life; the movies made by DreamWorks; his friendship with Stanley Kubrick; and his work on A.I..Less
This chapter describes Spielberg’s support for Democratic candidates, especially Presidents Bill Clinton and Barack Obama; his family life; the movies made by DreamWorks; his friendship with Stanley Kubrick; and his work on A.I..
Kate McQuiston
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199767656
- eISBN:
- 9780199369492
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199767656.003.0005
- Subject:
- Music, Popular, History, Western
Chapter 4 explores numerous steps and facets in Kubrick’s working process regarding music in Barry Lyndon, with special attention to the slow movement of Franz Schubert’s Piano Trio in E-flat, op. ...
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Chapter 4 explores numerous steps and facets in Kubrick’s working process regarding music in Barry Lyndon, with special attention to the slow movement of Franz Schubert’s Piano Trio in E-flat, op. 100, a work which Kubrick’s producer Jan Harlan recomposed and had re-recorded for the film. Schubert’s piece is also considered with relation to its status as a late-style work, a tack that views late style as both an articulation of the composer’s cognizance of mortality and an answer to it. This strategy emphasizes the role of Schubert’s music in the estrangement and ultimate destruction of the central characters.Less
Chapter 4 explores numerous steps and facets in Kubrick’s working process regarding music in Barry Lyndon, with special attention to the slow movement of Franz Schubert’s Piano Trio in E-flat, op. 100, a work which Kubrick’s producer Jan Harlan recomposed and had re-recorded for the film. Schubert’s piece is also considered with relation to its status as a late-style work, a tack that views late style as both an articulation of the composer’s cognizance of mortality and an answer to it. This strategy emphasizes the role of Schubert’s music in the estrangement and ultimate destruction of the central characters.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter examines the process of adapting Stephen King's book The Shining. Looking at how and why parts of the book were adapted (rather than just focusing on what changed) allows for a coherent ...
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This chapter examines the process of adapting Stephen King's book The Shining. Looking at how and why parts of the book were adapted (rather than just focusing on what changed) allows for a coherent appreciation of Stanley Kubrick's film as a significant horror movie. Moreover, The Shining provides an ideal case study for more nuanced theories of adaptation which consider films ‘in relation to the history of generic conventions within which both the film and its source text are situated. In other words, a film participates in—and should therefore be conceptualized as part of—a sequence of adaptations of which the “original” text, in turn, constitutes a segment’. Changing the story's horrific nature does not result in it being less suited to the horror genre, it just offers a different take on its conventions. Comparing the film directly to its equally iconic source text results in inevitable competition in which the original will often ‘win’, even when then the two serve different functions. In addition to analysing adaptation, considering the film within the context of its production and its creators' filmmaking style, and looking at its position within the genre and its themes, offers a fuller picture of The Shining's effective approach to horror.Less
This chapter examines the process of adapting Stephen King's book The Shining. Looking at how and why parts of the book were adapted (rather than just focusing on what changed) allows for a coherent appreciation of Stanley Kubrick's film as a significant horror movie. Moreover, The Shining provides an ideal case study for more nuanced theories of adaptation which consider films ‘in relation to the history of generic conventions within which both the film and its source text are situated. In other words, a film participates in—and should therefore be conceptualized as part of—a sequence of adaptations of which the “original” text, in turn, constitutes a segment’. Changing the story's horrific nature does not result in it being less suited to the horror genre, it just offers a different take on its conventions. Comparing the film directly to its equally iconic source text results in inevitable competition in which the original will often ‘win’, even when then the two serve different functions. In addition to analysing adaptation, considering the film within the context of its production and its creators' filmmaking style, and looking at its position within the genre and its themes, offers a fuller picture of The Shining's effective approach to horror.
Kate McQuiston
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199767656
- eISBN:
- 9780199369492
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199767656.001.0001
- Subject:
- Music, Popular, History, Western
Though the films of Stanley Kubrick have long been recognized for their innovation, visual impact, and challenging subject matter, they also feature unique and provocative uses of music that define ...
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Though the films of Stanley Kubrick have long been recognized for their innovation, visual impact, and challenging subject matter, they also feature unique and provocative uses of music that define Kubrick’s work and that have made a lasting impact on filmmaking and multimedia more broadly. This book takes the position that, for Kubrick, music is absolutely central to the themes, visual designs, and meanings in the films. The book traces ways in which music assumes an important place for Kubrick throughout the working process and in the reception of the films as well. The book is organized according to musical features and techniques that influence the design of the narrative, cast character relationships, and drive the drama. Kubrick’s effective use of music’s formal and stylistic qualities, associative potential, and rhythmic and temporal qualities shape the films. A focus on music also allows a closer look at Kubrick’s debt to Max Ophüls, a director who likewise cast music as the master of his dramatic worlds. The author’s research, supported by evidence in the form of documents from the Stanley Kubrick Archive and original analyses, renders a picture of Kubrick as a musically minded director who knew how to exploit music’s formal, stylistic, and historical characteristics and who also strove to create films modeled on the concept of music broadly. The book reveals many details of Kubrick’s working process for the first time and relocates Kubrick’s aesthetic in musical territory to illuminate fresh interpretations of his work and their reception.Less
Though the films of Stanley Kubrick have long been recognized for their innovation, visual impact, and challenging subject matter, they also feature unique and provocative uses of music that define Kubrick’s work and that have made a lasting impact on filmmaking and multimedia more broadly. This book takes the position that, for Kubrick, music is absolutely central to the themes, visual designs, and meanings in the films. The book traces ways in which music assumes an important place for Kubrick throughout the working process and in the reception of the films as well. The book is organized according to musical features and techniques that influence the design of the narrative, cast character relationships, and drive the drama. Kubrick’s effective use of music’s formal and stylistic qualities, associative potential, and rhythmic and temporal qualities shape the films. A focus on music also allows a closer look at Kubrick’s debt to Max Ophüls, a director who likewise cast music as the master of his dramatic worlds. The author’s research, supported by evidence in the form of documents from the Stanley Kubrick Archive and original analyses, renders a picture of Kubrick as a musically minded director who knew how to exploit music’s formal, stylistic, and historical characteristics and who also strove to create films modeled on the concept of music broadly. The book reveals many details of Kubrick’s working process for the first time and relocates Kubrick’s aesthetic in musical territory to illuminate fresh interpretations of his work and their reception.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter discusses Stanley Kubrick's relationship with the horror genre. The Shining (1980) is a clear example of Kubrick's status as ‘an artist of complex and popular work’—rather than being ...
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This chapter discusses Stanley Kubrick's relationship with the horror genre. The Shining (1980) is a clear example of Kubrick's status as ‘an artist of complex and popular work’—rather than being exclusively one or the other. Many approaches to understanding the film see it as a ‘serious’ work by a master filmmaker operating without commercial imperative, or elevated above a disreputable genre. This overlooks a number of important contextual considerations, not least the fact that Kubrick had been clear in asserting that he wanted to make a supernatural film and liked a number of horror films. Moreover, Kubrick, whose films ‘repeatedly mix the grotesque and the banal, the conventions of Gothic confessional morbidity and the self-conscious involutions of modernist parody’, was ideally placed to make a horror film. If The Shining is in many ways typical of the Kubrickian style, then it surely follows that the Kubrickian style was ideal for horror. His auteurist style—the use of black comedy, his artistic approach to mise-en-scène and cinematography, an interest in the uncanny—all lend themselves to the genre.Less
This chapter discusses Stanley Kubrick's relationship with the horror genre. The Shining (1980) is a clear example of Kubrick's status as ‘an artist of complex and popular work’—rather than being exclusively one or the other. Many approaches to understanding the film see it as a ‘serious’ work by a master filmmaker operating without commercial imperative, or elevated above a disreputable genre. This overlooks a number of important contextual considerations, not least the fact that Kubrick had been clear in asserting that he wanted to make a supernatural film and liked a number of horror films. Moreover, Kubrick, whose films ‘repeatedly mix the grotesque and the banal, the conventions of Gothic confessional morbidity and the self-conscious involutions of modernist parody’, was ideally placed to make a horror film. If The Shining is in many ways typical of the Kubrickian style, then it surely follows that the Kubrickian style was ideal for horror. His auteurist style—the use of black comedy, his artistic approach to mise-en-scène and cinematography, an interest in the uncanny—all lend themselves to the genre.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter looks at the release, reception, and cultural legacy of Stanley Kubrick's The Shining (1980). When The Shining was released, it did not immediately receive the acclaim that many ...
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This chapter looks at the release, reception, and cultural legacy of Stanley Kubrick's The Shining (1980). When The Shining was released, it did not immediately receive the acclaim that many expected, and which it has since garnered. It was met with lukewarm reviews, disappointing many fans of the filmmaker's earlier work. As with much of Kubrick's work, however, the film has been critically reappraised over the decades since its release. The Shining is now celebrated, not only as one of the greatest horror movies ever made, but a contemporary classic in its own right. Its place in pop culture has been enshrined by endless homage and parody, and the film's influence on contemporary horror is ubiquitous. Revisiting The Shining's release and promotion strategies, and examining the reception, reappraisal, and ultimate canonisation of the film, illustrate a number of critical reservations about the horror genre and the film's place within it—even as it continues to inspire genre audiences and filmmakers almost forty years later.Less
This chapter looks at the release, reception, and cultural legacy of Stanley Kubrick's The Shining (1980). When The Shining was released, it did not immediately receive the acclaim that many expected, and which it has since garnered. It was met with lukewarm reviews, disappointing many fans of the filmmaker's earlier work. As with much of Kubrick's work, however, the film has been critically reappraised over the decades since its release. The Shining is now celebrated, not only as one of the greatest horror movies ever made, but a contemporary classic in its own right. Its place in pop culture has been enshrined by endless homage and parody, and the film's influence on contemporary horror is ubiquitous. Revisiting The Shining's release and promotion strategies, and examining the reception, reappraisal, and ultimate canonisation of the film, illustrate a number of critical reservations about the horror genre and the film's place within it—even as it continues to inspire genre audiences and filmmakers almost forty years later.
Elaine Showalter
- Published in print:
- 1991
- Published Online:
- October 2011
- ISBN:
- 9780198123835
- eISBN:
- 9780191671616
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198123835.003.0007
- Subject:
- Literature, Women's Literature, American, 20th Century Literature
The theorization of the Female Gothic as a genre that expressed women's dark protests, fantasies, and fear is one of the earliest critical manifestations of the change in consciousness that came out ...
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The theorization of the Female Gothic as a genre that expressed women's dark protests, fantasies, and fear is one of the earliest critical manifestations of the change in consciousness that came out of the women's liberation movement of the late 1960s. The chapters on the Female Gothic were particularly striking. The collaboration of Diane Johnson and Stanley Kubrick on the script for The Shining is a fascinating instance of the re-gendering of Gothic plots. Ironically speaking, if the contemporary Female Gothic has come increasingly to be perceived as an American mode it is because its concerns are now consistent with a larger change in American fiction towards ‘violence-centered plots’ and a Gothic revival representing ‘alternative strategies for depicting an ever more terrifying reality’.Less
The theorization of the Female Gothic as a genre that expressed women's dark protests, fantasies, and fear is one of the earliest critical manifestations of the change in consciousness that came out of the women's liberation movement of the late 1960s. The chapters on the Female Gothic were particularly striking. The collaboration of Diane Johnson and Stanley Kubrick on the script for The Shining is a fascinating instance of the re-gendering of Gothic plots. Ironically speaking, if the contemporary Female Gothic has come increasingly to be perceived as an American mode it is because its concerns are now consistent with a larger change in American fiction towards ‘violence-centered plots’ and a Gothic revival representing ‘alternative strategies for depicting an ever more terrifying reality’.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.003.0001
- Subject:
- Film, Television and Radio, Film
This introductory chapter provides an overview of The Shining (1980), Stanley Kubrick's adaptation of Stephen King's bestselling novel of the same name. The Shining is widely acclaimed as one of the ...
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This introductory chapter provides an overview of The Shining (1980), Stanley Kubrick's adaptation of Stephen King's bestselling novel of the same name. The Shining is widely acclaimed as one of the greatest horror movies ever made. However, it took time for the film to become recognised as the essential and effective horror movie it is regarded as today. For many critics, The Shining was simply not frightening. The re-evaluation that has taken place subsequently has, to some extent, sought beyond considerations of genre in highlighting the film's value, focusing on the adaptation of King's book, Kubrick's auteur status and filmmaking style, and analysis of its ‘deeper’ meanings, rather than situating it—as much of its audience has—in the context of horror cinema. These approaches are significant, and they offer useful frameworks for a closer look at the film, but it is important that they are considered in parallel with its position as a horror film. The book brings together these ideas to offer a study of The Shining in its rightful place. The chapter then presents the synopsis of the film and looks at considerations of The Shining in previous studies of the horror genre.Less
This introductory chapter provides an overview of The Shining (1980), Stanley Kubrick's adaptation of Stephen King's bestselling novel of the same name. The Shining is widely acclaimed as one of the greatest horror movies ever made. However, it took time for the film to become recognised as the essential and effective horror movie it is regarded as today. For many critics, The Shining was simply not frightening. The re-evaluation that has taken place subsequently has, to some extent, sought beyond considerations of genre in highlighting the film's value, focusing on the adaptation of King's book, Kubrick's auteur status and filmmaking style, and analysis of its ‘deeper’ meanings, rather than situating it—as much of its audience has—in the context of horror cinema. These approaches are significant, and they offer useful frameworks for a closer look at the film, but it is important that they are considered in parallel with its position as a horror film. The book brings together these ideas to offer a study of The Shining in its rightful place. The chapter then presents the synopsis of the film and looks at considerations of The Shining in previous studies of the horror genre.
Robert P. Kolker and Nathan Abrams
- Published in print:
- 2019
- Published Online:
- June 2019
- ISBN:
- 9780190678029
- eISBN:
- 9780190678067
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190678029.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Stanley Kubrick’s Eyes Wide Shut is a complex, visually arresting film about domesticity, sexual disturbance, and dreams. It was on the director’s mind for some 50 years before he finally put it into ...
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Stanley Kubrick’s Eyes Wide Shut is a complex, visually arresting film about domesticity, sexual disturbance, and dreams. It was on the director’s mind for some 50 years before he finally put it into production. Using materials from the Stanley Kubrick Archive at the University of the Arts, London, as well as other archives, combined with interviews with key participants involved in the production, the authors construct an archeology and appreciation of this enigmatic work and its creator. This book traces the progress of the film from its origins through its completion, reception, and afterlife, and provide a new critical reading of the film.Less
Stanley Kubrick’s Eyes Wide Shut is a complex, visually arresting film about domesticity, sexual disturbance, and dreams. It was on the director’s mind for some 50 years before he finally put it into production. Using materials from the Stanley Kubrick Archive at the University of the Arts, London, as well as other archives, combined with interviews with key participants involved in the production, the authors construct an archeology and appreciation of this enigmatic work and its creator. This book traces the progress of the film from its origins through its completion, reception, and afterlife, and provide a new critical reading of the film.
Shawn Malley
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941190
- eISBN:
- 9781789629088
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941190.003.0001
- Subject:
- Film, Television and Radio, Film
The introductory chapter establishes relationships between archaeology as a trope within SF film and television and as a cultural site from which to investigate the medium’s critical engagement with ...
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The introductory chapter establishes relationships between archaeology as a trope within SF film and television and as a cultural site from which to investigate the medium’s critical engagement with post 9/11 geopolitics. Arguing that the imagination of the future is indelibly overrun by the past, scholars like Fredric Jameson, Gary Wolfe and Carl Freeman contend that SF is a historicist genre that exposes its master fantasy of progress to the kinds of real and symbolic assaults on Western global power represented by 9/11. The introduction contends that SF film and television offer resistant readings of the ways mediatized weapons of retaliation on the West circulate within popular culture as potent images of threat and fear that have leant Western governments extraordinary powers of surveillance and control over its citizens and the world in the name of freedom and security. The introduction historicises the cinematic and televisual response to 9/11 and its aftermath by looking back to Stanley Kubrick’s 2001: A Space Odyssey (1968), a film that speaks obliquely to the terrible events of the year it imagines, in which the cinematics of terror have been naturalized within the SF cinematic imagination.Less
The introductory chapter establishes relationships between archaeology as a trope within SF film and television and as a cultural site from which to investigate the medium’s critical engagement with post 9/11 geopolitics. Arguing that the imagination of the future is indelibly overrun by the past, scholars like Fredric Jameson, Gary Wolfe and Carl Freeman contend that SF is a historicist genre that exposes its master fantasy of progress to the kinds of real and symbolic assaults on Western global power represented by 9/11. The introduction contends that SF film and television offer resistant readings of the ways mediatized weapons of retaliation on the West circulate within popular culture as potent images of threat and fear that have leant Western governments extraordinary powers of surveillance and control over its citizens and the world in the name of freedom and security. The introduction historicises the cinematic and televisual response to 9/11 and its aftermath by looking back to Stanley Kubrick’s 2001: A Space Odyssey (1968), a film that speaks obliquely to the terrible events of the year it imagines, in which the cinematics of terror have been naturalized within the SF cinematic imagination.
William Gibbons
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190265250
- eISBN:
- 9780190265304
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190265250.003.0006
- Subject:
- Music, Popular, History, Western
This chapter focuses on games that use classical music to allude to the films of auteur director Stanley Kubrick, whether as homage, parody, or both. By invoking Kubrick’s work, these games aim to ...
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This chapter focuses on games that use classical music to allude to the films of auteur director Stanley Kubrick, whether as homage, parody, or both. By invoking Kubrick’s work, these games aim to connect with his legacy as an artistically lauded filmmaker whose works also had wide appeal. The chapter explores connections between 2001: A Space Odyssey and the massively successful early space flight simulator Elite, which includes features explicitly modeled on Kubrick’s film. It continues by examining two very different games that make reference to Kubrick’s notoriously violent film A Clockwork Orange: Conker’s Bad Fur Day and Batman: Arkham Origins.Less
This chapter focuses on games that use classical music to allude to the films of auteur director Stanley Kubrick, whether as homage, parody, or both. By invoking Kubrick’s work, these games aim to connect with his legacy as an artistically lauded filmmaker whose works also had wide appeal. The chapter explores connections between 2001: A Space Odyssey and the massively successful early space flight simulator Elite, which includes features explicitly modeled on Kubrick’s film. It continues by examining two very different games that make reference to Kubrick’s notoriously violent film A Clockwork Orange: Conker’s Bad Fur Day and Batman: Arkham Origins.
Amanda Sewell
- Published in print:
- 2020
- Published Online:
- April 2020
- ISBN:
- 9780190053468
- eISBN:
- 9780190053499
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190053468.003.0005
- Subject:
- Music, Popular
This chapter details the decade of the 1970s, during which Carlos remained in hiding but continued to release albums and written statements under her birth name. Most notably, she collaborated with ...
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This chapter details the decade of the 1970s, during which Carlos remained in hiding but continued to release albums and written statements under her birth name. Most notably, she collaborated with Stanley Kubrick and created music on the Moog synthesizer for the 1971 film A Clockwork Orange. She and Rachel Elkind also released several additional albums in the mold of Switched-On Bach, as well as the proto-ambient album Sonic Seasonings. By the late 1970s, Carlos felt it was time to disclose her identity. She had missed a number of potential collaborations in the past decade, including several film projects and a meeting with Stevie Wonder.Less
This chapter details the decade of the 1970s, during which Carlos remained in hiding but continued to release albums and written statements under her birth name. Most notably, she collaborated with Stanley Kubrick and created music on the Moog synthesizer for the 1971 film A Clockwork Orange. She and Rachel Elkind also released several additional albums in the mold of Switched-On Bach, as well as the proto-ambient album Sonic Seasonings. By the late 1970s, Carlos felt it was time to disclose her identity. She had missed a number of potential collaborations in the past decade, including several film projects and a meeting with Stevie Wonder.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter explores the themes of Stanley Kubrick's The Shining (1980). The Shining, in its themes of family trauma and domestic violence, racial and class tension, all connected through the film's ...
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This chapter explores the themes of Stanley Kubrick's The Shining (1980). The Shining, in its themes of family trauma and domestic violence, racial and class tension, all connected through the film's approach to the horror of history, has been criticised for seemingly reducing the supernatural focus of Stephen King's book and replacing it with a more human evil. Like these varied themes and any one of the potential alternative readings, however, the emphasis is ultimately left to the viewer's subjective interpretation. The result, as ever, is the uncertain tone which emphasises the film's horror. The Shining might not quite 'fit' with the independent, low-budget cycle of 1970s American horror cinema which saw the emergence of a new wave of genre auteurs, but it can nonetheless be aligned with a number of that cycle's social allusions, and it be would be remiss to remove the film from this context. Ultimately, Kubrick made The Shining with the intention of achieving commercial success, and looked to the horror genre to achieve this.Less
This chapter explores the themes of Stanley Kubrick's The Shining (1980). The Shining, in its themes of family trauma and domestic violence, racial and class tension, all connected through the film's approach to the horror of history, has been criticised for seemingly reducing the supernatural focus of Stephen King's book and replacing it with a more human evil. Like these varied themes and any one of the potential alternative readings, however, the emphasis is ultimately left to the viewer's subjective interpretation. The result, as ever, is the uncertain tone which emphasises the film's horror. The Shining might not quite 'fit' with the independent, low-budget cycle of 1970s American horror cinema which saw the emergence of a new wave of genre auteurs, but it can nonetheless be aligned with a number of that cycle's social allusions, and it be would be remiss to remove the film from this context. Ultimately, Kubrick made The Shining with the intention of achieving commercial success, and looked to the horror genre to achieve this.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.003.0006
- Subject:
- Film, Television and Radio, Film
This concluding chapter explains that while many studies and critiques have continued to limit its status within the horror genre, audiences and filmmakers have embraced Stanley Kubrick's The Shining ...
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This concluding chapter explains that while many studies and critiques have continued to limit its status within the horror genre, audiences and filmmakers have embraced Stanley Kubrick's The Shining (1980), with all of its ambiguities and oddities, as an enduringly popular, effective horror film. It marked a turning point in horror cinema's history and confirmed that mainstream, commercial genre films could be smart, beautiful, and original. It was stylistically and tonally unusual, auteurist and technically accomplished, enigmatic and unapologetic, and its influence is evident in a range of subsequent works. Over time, it has continued to inspire artistic, atmospheric horror, and its endless recycled references have contributed to both its extraordinary impact on popular culture and its ultimate genre canonisation. Indeed, The Shining has staked its claim in horror history.Less
This concluding chapter explains that while many studies and critiques have continued to limit its status within the horror genre, audiences and filmmakers have embraced Stanley Kubrick's The Shining (1980), with all of its ambiguities and oddities, as an enduringly popular, effective horror film. It marked a turning point in horror cinema's history and confirmed that mainstream, commercial genre films could be smart, beautiful, and original. It was stylistically and tonally unusual, auteurist and technically accomplished, enigmatic and unapologetic, and its influence is evident in a range of subsequent works. Over time, it has continued to inspire artistic, atmospheric horror, and its endless recycled references have contributed to both its extraordinary impact on popular culture and its ultimate genre canonisation. Indeed, The Shining has staked its claim in horror history.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.001.0001
- Subject:
- Film, Television and Radio, Film
Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It ...
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Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. The fractured family unit and patriarchal terror of Kubrick's film, alongside its allusions to issues of gender, race, and class, connect it to themes prevalent in horror cinema by the end of the 1970s, and are shown to offer a critique of American society that chimed with the era's political climate as well as its genre trends. The film's impact on horror cinema and broader pop culture is ever apparent, with homages in everything from Toy Story to American Horror Story. The Shining showed that popular, commercial horror films could be smart, artistic, and original.Less
Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. The fractured family unit and patriarchal terror of Kubrick's film, alongside its allusions to issues of gender, race, and class, connect it to themes prevalent in horror cinema by the end of the 1970s, and are shown to offer a critique of American society that chimed with the era's political climate as well as its genre trends. The film's impact on horror cinema and broader pop culture is ever apparent, with homages in everything from Toy Story to American Horror Story. The Shining showed that popular, commercial horror films could be smart, artistic, and original.
Nuno Simões Rodrigues (ed.)
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474407847
- eISBN:
- 9781474430982
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474407847.003.0003
- Subject:
- Classical Studies, World History: BCE to 500CE
This chapter starts from the iconic 1960 Stanley Kubrick film version of Spartacus and it compares it with the other version to demonstrate how in the Kubrick version the political and ideological ...
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This chapter starts from the iconic 1960 Stanley Kubrick film version of Spartacus and it compares it with the other version to demonstrate how in the Kubrick version the political and ideological nature of the Spartacus figure re-emerges in the twenty-first century, reinvented and far more sexualized than its predecessor. STARZ Spartacus, the chapter argues, has an altogether different set of objectives, placing special emphasis on the glorified and eroticized image of mostly male—but also female—bodies. This chapter concludes that Kubrick's Spartacus is transformed from a political icon, representing freedom, equality, and independence, into a new Spartacus who also becomes the image of a hypersexualized masculinity.Less
This chapter starts from the iconic 1960 Stanley Kubrick film version of Spartacus and it compares it with the other version to demonstrate how in the Kubrick version the political and ideological nature of the Spartacus figure re-emerges in the twenty-first century, reinvented and far more sexualized than its predecessor. STARZ Spartacus, the chapter argues, has an altogether different set of objectives, placing special emphasis on the glorified and eroticized image of mostly male—but also female—bodies. This chapter concludes that Kubrick's Spartacus is transformed from a political icon, representing freedom, equality, and independence, into a new Spartacus who also becomes the image of a hypersexualized masculinity.
Sean McQueen
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474414371
- eISBN:
- 9781474422369
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414371.003.0002
- Subject:
- Philosophy, Moral Philosophy
This chapter looks at how the assemblages that characterise a society of control intervene at the level of speech and thought. It takes up Anthony Burgess's A Clockwork Orange (1962), a meditation on ...
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This chapter looks at how the assemblages that characterise a society of control intervene at the level of speech and thought. It takes up Anthony Burgess's A Clockwork Orange (1962), a meditation on control over language, expression, and thought, but also technoscientific control, namely, through the ‘Ludovico technique’ — an assemblage of cinematic technology and pharmaceutical innovation the State uses to resubjectivise the criminal class. The novel is as famous for its ultra-violent aesthete, Alex, as for its fabrication of Nadsat, a fictional argot spoken by delinquent youths. Though Deleuze never cited Burgess, he wrote at length about Stanley Kubrick, who adapted Burgess's novel in 1971. Hence, this chapter shows how Burgess and Kubrick illuminate Deleuze's thoughts on literature and language, cinema and control, and allows us to trace their affinities with SF criticism and the genre's linguistic creations.Less
This chapter looks at how the assemblages that characterise a society of control intervene at the level of speech and thought. It takes up Anthony Burgess's A Clockwork Orange (1962), a meditation on control over language, expression, and thought, but also technoscientific control, namely, through the ‘Ludovico technique’ — an assemblage of cinematic technology and pharmaceutical innovation the State uses to resubjectivise the criminal class. The novel is as famous for its ultra-violent aesthete, Alex, as for its fabrication of Nadsat, a fictional argot spoken by delinquent youths. Though Deleuze never cited Burgess, he wrote at length about Stanley Kubrick, who adapted Burgess's novel in 1971. Hence, this chapter shows how Burgess and Kubrick illuminate Deleuze's thoughts on literature and language, cinema and control, and allows us to trace their affinities with SF criticism and the genre's linguistic creations.