La citation musicale dans 2001 : A Space Odyssey (1968) de Stanley Kubrick

Anglophonia ◽  
2002 ◽  
Vol 11 (1) ◽  
pp. 245-253
Author(s):  
Elisabeth Germa
Keyword(s):  
Stanley Kubrick

: Eyes Wide Shut . Stanley Kubrick, Brian W. Cook.

2000 ◽  
Vol 53 (3) ◽  
pp. 41-48
Author(s):  
Tim Kreider
Keyword(s):  
Stanley Kubrick

Stanley Kubrick

2018 ◽  
Author(s):  
Nathan Abrams
Keyword(s):  
Stanley Kubrick

Introduction

2018 ◽  
Author(s):  
Peter Lurie
Keyword(s):  
American Art ◽  
Stanley Kubrick ◽  
Critical Tradition ◽  
Art And Culture ◽  
Benito Cereno

This introduction orients this book’s argument surrounding history’s visibility. It points to a tradition of visualizing history initiated by D. W. Griffith’s infamous Birth of a Nation and suggests links between it and a later critical tradition of falsely presuming history’s accessibility. It takes up recent challenges to politicized cultural scholarship and identifies the book’s investment in examining the terms on which so-called American art and culture have been defined. Edgar Allan Poe’s Pym and Herman Melville’s “Benito Cereno” offer templates for the later discussions of writers’ and filmmakers’ choice to eschew direct representations of history. It links these moves to New Formalist methodology and places the study’s approach within this field, describing the book’s moves from treating modernist writers to discussing the postmodern cinema of Stanley Kubrick and the Coen brothers. It takes up a tenet of modernist scholarship that questions notions of a putatively transcendent, disembodied subject.

American Obscurantism

2018 ◽  
Author(s):  
Peter Lurie
Keyword(s):  
American Literature ◽  
William Faulkner ◽  
Herman Melville ◽  
Edgar Allan Poe ◽  
Hart Crane ◽  
Stanley Kubrick ◽  
Early Twenty ◽  
Racial History ◽  
Late Twentieth ◽  
Ongoing Development

American Obscurantism argues for a salutary indirection in U.S. culture. From its earliest canonical literary works through films of the late twentieth and early twenty-first centuries, the most compelling manifestations of America’s troubled history have articulated this content through a unique formal and tonal obscurity. Envisioning the formidable darkness attending racial history at nearly every stage of the republic’s founding and ongoing development, writers such as William Faulkner and Hart Crane, and directors like the Coen brothers and Stanley Kubrick, present a powerful critique of American conquest, southern plantation culture, and western frontier ideology. American Obscurantism engages the basis of these explorations in Edgar Allan Poe and Herman Melville, each of whom present notable occlusions in their characters’ racial understanding, an obtuseness or naivety that is expressed by a corresponding formal opacity. Such oblique historicity as the book describes allows a method at odds with—and implicitly critical of—the historicizing trend that marked literary studies in the wake of the theoretical turn. The book thus restores an emphasis on aesthetic and medium-specific features to argue for a formalist historicity. Working through challenges to an implicitly white, bourgeois, heteronormative polity, American Obscurantism posits an insistent, vital racial otherness at the heart of American literature and cinema. It examines this pattern across a canon that shows more self-doubt than assuredness, arguing for the value of openness and questioning in place of epistemological or critical certainty.

scholarly journals Rewriting the stars: Surface tensions and gender troubles in the online media production of digital deepfakes

2021 ◽  
pp. 135485652110294
Author(s):  
Christopher Holliday
Keyword(s):  
White Male ◽  
Film History ◽  
Stanley Kubrick ◽  
Politics Of Identity ◽  
Hollywood Film ◽  
Digital Asset ◽  
And Gender ◽  
Film Stars ◽  
Star Performers ◽  
Sophisticated Technology

This article examines a cross-section of viral Deepfake videos that utilise the recognisable physiognomies of Hollywood film stars to exhibit the representative possibilities of Deepfakes as a sophisticated technology of illusion. Created by a number of online video artists, these convincing ‘mash-ups’ playfully rewrite film history by retrofitting canonical cinema with new star performers, from Jim Carrey in The Shining (Stanley Kubrick, 1980) to Tom Cruise in American Psycho (Mary Harron, 2000). The particular remixing of stardom in these videos can – as this article contends – be situated within the technological imaginary of ‘take two’ cinephilia, and the ‘technological performativity of digitally remastered sounds and images’ in an era of ‘the download, the file swap, [and] the sampling’ (Elsaesser 2005: 36–40). However, these ‘take two’ Deepfake cyberstars further aestheticize an entertaining surface tension between coherency and discontinuity, and in their modularity function as ‘puzzling’ cryptograms written increasingly in digital code. Fully representing the star-as-rhetorical digital asset, Deepfakes therefore make strange contemporary Hollywood’s many digitally mediated performances, while the reskinning of (cisgender white male) stars sharpens the ontology of gender as it is understood through discourses of performativity (Butler 1990; 2004). By identifying Deepfakes as a ‘take two’ undoing, this article frames their implications for the cultural politics of identity; Hollywood discourses of hegemonic masculinity; overlaps with non-normative subjectivities, ‘body narratives’ and ‘second skins’ (Prosser 1998); and how star-centred Deepfakes engage gender itself as a socio-techno phenomenon of fakery that is produced – and reproduced – over time.

We'll Meet Again: Musical Design in the Films of Stanley Kubrick

2014 ◽  
Vol 38 (4) ◽  
pp. 536-538
Author(s):  
Nick Braae
Keyword(s):  
Stanley Kubrick

scholarly journals O tempo no cinema: a influências da montagem na linguagem sincrética

2017 ◽  
Vol 13 (1) ◽  
pp. 82
Author(s):  
Natália Cipolaro Guirado
Keyword(s):  
Stanley Kubrick ◽  
Lars Von Trier ◽  
De Se

A arte do cinema possui especificidades materiais e formais em sua construção enquanto linguagem, tendo em vista que se constitui como um sistema de significação com funcionamento específico, o que o torna diferente das linguagens verbal, sonora, visual e de outras formas de expressão. Compreendemos que a importância da técnica de montagem na organização e na concepção da narrativa fílmica era fundamental para os realizadores e os teóricos do cinema desde o início do século XX, pois os diversos efeitos conferidos à significação a partir desse artifício técnico eram investigados e experimentados. Em relação à construção temporal nas composições fílmicas lineares, geralmente a noção de anterioridade e posterioridade é construída na ordem direta do tempo cronológico que corresponde ao fluxo narrativo e move sua continuidade. A dimensão do tempo possui a peculiaridade de se desenvolver em valores formais específicos, de organizar o espaço e outros elementos diegéticos, como a música, em uma série temporal, bem como conferir a impressão de realidade ao cinema. Observaremos, portanto, algumas formas peculiares da montagem influenciar a construção temporal dos filmes. Dessa maneira, analisaremos trechos dos filmes Gata velha ainda mia (2013), de Rafael Primot; 2001, uma odisseia no espaço (1968), de Stanley Kubrick e Melancolia (2011), de Lars von Trier, para comentar especificidades da montagem na linguagem sincrética.

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