The film explores the tragic consequences of an unbending moral code in a constantly changing universe. Essays in the volume examine Kubrick’s interest in morality and fate, revealing a Stoic philosophy at the center of many of his films.
Author: Jerold Abrams
Publisher: University Press of Kentucky
In the course of fifty years, director Stanley Kubrick produced some of the most haunting and indelible images on film. His films touch on a wide range of topics rife with questions about human life, behavior, and emotions: love and sex, war, crime, madness, social conditioning, and technology. Within this great variety of subject matter, Kubrick examines different sides of reality and unifies them into a rich philosophical vision that is similar to existentialism. Perhaps more than any other philosophical concept, existentialism—the belief that philosophical truth has meaning only if it is chosen by the individual—has come down from the ivory tower to influence popular culture at large. In virtually all of Kubrick’s films, the protagonist finds himself or herself in opposition to a hard and uncaring world, whether the conflict arises in the natural world or in human institutions. Kubrick’s war films (Fear and Desire, Paths of Glory, Dr. Strangelove, and Full Metal Jacket) examine how humans deal with their worst fears—especially the fear of death—when facing the absurdity of war. Full Metal Jacket portrays a world of physical and moral change, with an environment in continual flux in which attempting to impose order can be dangerous. The film explores the tragic consequences of an unbending moral code in a constantly changing universe. Essays in the volume examine Kubrick’s interest in morality and fate, revealing a Stoic philosophy at the center of many of his films. Several of the contributors find his oeuvre to be characterized by skepticism, irony, and unfettered hedonism. In such films as A Clockwork Orange and 2001: A Space Odyssey, Kubrick confronts the notion that we will struggle against our own scientific and technological innovations. Kubrick’s films about the future posit that an active form of nihilism will allow humans to accept the emptiness of the world and push beyond it to form a free and creative view of humanity. Taken together, the essays in The Philosophy of Stanley Kubrick are an engaging look at the director’s stark vision of a constantly changing moral and physical universe. They promise to add depth and complexity to the interpretation of Kubrick’s signature films.
Sam Azulys's 2011 essay Stanley Kubrick, une odyssée philosophique (Editions
de la Transparence), confronts Kubrick's themes and aesthetics to the
philosophical ideas of Nietzsche, Spengler, and Heidegger to demonstrate the
Author: Elsa Colombani
Publisher: Lexington Books
A Critical Companion to Stanley Kubrick offers a thorough and detailed study of the films of the legendary director. Labeled a recluse, a provocateur, and a perfectionist, Kubrick revolutionized filmmaking, from the use of music in film, narrative pacing and structure, to depictions of war and violence. An unparalleled visionary, his work continues to influence contemporary cinema and visual culture. This book delves into the complexities of his work and examines the wide range of topics and the multiple interpretations that his films inspire. The eighteen chapters in this book use a wide range of methodologies and explore new trends of research in film studies, providing a series of unique and novel perspectives on all of Kubrick’s thirteen feature films, from Fear and Desire (1953) to Eyes Wide Shut (1999), as well as his work on A.I. Artificial Intelligence (Steven Spielberg, 2001).
I discuss Kubrick ' s film in “ The Big Score : Fate , Morality , and Meaningful Life
in The Killing , ” in The Philosophy of Stanley Kubrick , ed . Jerold J . Abrams (
Lexington : University Press of Kentucky , 2007 ) . 4 . For the three views , see ...
Author: Mark T. Conard
From its origins in the Cumberland Mountains to its entry into the Ohio, the Kentucky River flows through two areas that have made Kentucky known throughout the world -- the mountains in the eastern part of the state and the Bluegrass in its center. In The Kentucky, Thomas D. Clark paints a rich panorama of history and life along the river, peopled with the famous and infamous, ordinary folk and legendary characters. It is a canvas distinctly emblematic of the American experience. The Kentucky was first published in 1942 as part of the "Rivers of America" series and has long been out of print. Reissued in this new enlarged edition, it brings back to life a distinguished contribution to Kentuckiana and is itself a historical document. In his new conclusion for this edition, Dr. Clark discusses some of the tremendous changes that have taken place since the book's initial publication.
His publications appear in The Philosophy of Film Noir ( 2006 ) , The Philosophy
of Neo - Noir ( 2007 ) , and The Philosophy of Martin Scorsese ( 2007 ) , and he '
s the editor of The Philosophy of Stanley Kubrick ( 2007 ) . Abrams is currently a ...
Author: Jason T. Eberl
What’s the point of living after your world has been destroyed? This is one of many questions raised by the Sci-Fi Channel’s critically acclaimed series Battlestar Galactica. More than just an action-packed “space opera,” each episode offers a dramatic character study of the human survivors and their Cylon pursuers as they confront existential, moral, metaphysical, theological, and political crises. This volume addresses some of the key questions to which the Colonials won’t find easy answers, even when they reach Earth: Are Cylons persons? Is Baltar’s scientific worldview superior to Six’s religious faith? Can Starbuck be free if she has a special destiny? Is it ethical to cut one’s losses and leave people behind? Is collaboration with the enemy ever the right move? Is humanity a “flawed creation”? Should we share the Cylon goal of “transhumanism”? Is it really a big deal that Starbuck’s a woman?
Other texts in the field turn their philosophical investigations towards either
individual film - makers – The Philosophy of Stanley Kubrick and The Philosophy
of Martin Scorsese being two we can add to our opening list – or individual films -
Author: John Mullarkey
Publisher: Palgrave MacMillan
Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that film can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favored kind of extant philosophy. Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and revisioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pretexts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? If a ‘non-philosophy’ like film can think philosophically, what does that imply for orthodox theory and philosophy?
Studies the style and themes of the films of Stanley Kubrick.
Author: Mario Falsetto
Publisher: Greenwood Publishing Group
Studies the style and themes of the films of Stanley Kubrick.
Geduld Mario Falsetto. Playboy Interview : Stanley Kubrick ERIC NORDERN
rebirth as one criticize its esse PLAYBOY : Much of the controversy surrounding
2001 deals with the meaning of the metaphysical symbols that abound in the
Publisher: Macmillan Reference USA
A collection of articles on the American director's ten most crucial films and interviews with him, including those in Playboy and Rolling Stone. Among the topics are patterns of filmic narration in The Killing and Lolita, filming 2001: A Space Odyssey, photographing Barry Lyndon, and the unravelling of patriarchy in Full Metal Jacket. Includes a full filmography. Annotation copyright by Book News, Inc., Portland, OR
... Sperb's The Kubrick Façade: Faces and Voices in the Films of Stanley Kubrick [
2006]); collections of interviews, essays, and materials (e.g., Jerold J. Abrams's
The Philosophy of Stanley Kubrick (The Philosophy of Popular Culture) , ...
Author: Elisa Pezzotta
Publisher: Univ. Press of Mississippi
Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), his films seem to definitively exploit all cinematic techniques, embodying a compelling visual and aural experience. But, as author Elisa Pezzotta contends, it is for these reasons that his cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence. Stanley Kubrick’s last six adaptations—2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)—are characterized by certain structural and stylistic patterns. These features help to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur. In particular, he can be regarded as an heir of the modernist avant-garde of the 1920s. However, author Elisa Pezzotta concludes that, unlike his predecessors, Kubrick creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.
Offering a close reading of the controversial classic film A Clockwork Orange, and an introductory account of the central themes of the philosophical classic The Republic, this book will be of interest to both scholars and students of ...
Author: Nathan Andersen
Shadow Philosophy: Plato’s Cave and Cinema is an accessible and exciting new contribution to film-philosophy, which shows that to take film seriously is also to engage with the fundamental questions of philosophy. Nathan Andersen brings Stanley Kubrick’s film A Clockwork Orange into philosophical conversation with Plato’s Republic, comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact of images. At the heart of the book is a novel account of the analogy between Plato’s allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from A Clockwork Orange, in which the lead character is strapped to a chair and forced to watch violent films. Key features of the book include: a comprehensive bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film a list of suggested films that can be explored following the approach in this book, including brief descriptions of each film, and suggestions regarding its philosophical implications a summary of Plato’s Republic, book by book, highlighting both dramatic context and subject matter. Offering a close reading of the controversial classic film A Clockwork Orange, and an introductory account of the central themes of the philosophical classic The Republic, this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick.
Recent philosophical currents like the work of Deleuze, Maturana and the academic gender discourse try to evolve a new coining of the term 'machinic' that goes beyond rigid dualistic notions.
Author: Thorsten Felden
Publisher: GRIN Verlag
Thesis (M.A.) from the year 2006 in the subject Film Science, grade: 1,3, University of Cologne (Englisches Seminar), 42 entries in the bibliography, language: English, abstract: In this paper, I want to examine Kubrick's work for the notion of man interacting with machines and relate it to various theoretical models that also deal with the relation of man and machine. I chose the term 'machine' as a generic term for any theory applying technological, mechanical or machinic ideas, most of which using the machine as a metaphor for sociological, philosophical or psychoanalytic approaches. At the same time, I want to illustrate on the basis of Kubrick's work how the theoretical discourse on this topic has changed in the course of time. Being initially cut down to a very literal understanding of machines as actual physical devices, the 20th century discourse about technology has shown that the demarcation line between what is nature and what is technology is not as easily drawn as it might appear. Man is inseparably bound up with his tools and culture as a whole could be regarded as some kind of machinery. Thus, a great part of both this paper and Kubrick's work deals with the notion of a cultural machine. Another part, however, will leave the narrow view of the machine as a strictly cultural metaphor. Recent philosophical currents like the work of Deleuze, Maturana and the academic gender discourse try to evolve a new coining of the term 'machinic' that goes beyond rigid dualistic notions. I will try to show that these ideas can be found in Kubrick's films as well.
STANLEY KUBRICK 2 These are the essential concerns of the philosopher of
history . What , if anything , does history mean ? How can we learn from it ? Is
there any way that our understanding of history can shed light on our own
Author: James Lee Christian
Publisher: Harcourt College Pub
This popular introductory text provides a unique diversity of teaching tools for instructors who prefer a synoptic approach. The text is visually appealing and reader friendly. The author accents his accessible writing with cartoons, quotations, and related findings from the social and physical sciences, reinforcing his emphasis on philosophy as the individual's attempt to unify disparate world views. The level of writing makes all philosophical concepts accessible to students. The emphasis is on synoptic thinking and providing the "big picture," including analytical skills. The biographies give the student a feeling for the great thinkers who have fashioned the Western philosophic tradition and have determined largely how we think today.
“Echoes” may actually be a better music score for this portion of 2001 than the
music Kubrick chose, which is perhaps ... According to one urban legend, film
director Stanley Kubrick asked Pink Floyd if he could use Atom Heart Mother for A
Author: George A. Reisch
Publisher: Open Court
With their early experiments in psychedelic rock music in the 1960s, and their epic recordings of the 1970s and '80s, Pink Floyd became one of the most influential and recognizable rock bands in history. As "The Pink Floyd Sound," the band created sound and light shows that defined psychedelia in England and inspired similar movements in the Jefferson Airplane's San Francisco and Andy Warhol's New York City. The band's subsequent recordings forged rock music's connections to orchestral music, literature, and philosophy. "Dark Side of the Moon" and "The Wall" ignored pop music's ordinary topics to focus on themes such as madness, existential despair, brutality, alienation, and socially induced psychosis. They also became some of the best-selling recordings of all time. In this collection of essays, sixteen scholars expert in various branches of philosophy set the controls for the heart of the sun to critically examine the themes, concepts, and problems—usually encountered in the pages of Heidegger, Foucault, Sartre, or Orwell—that animate and inspire Pink Floyd's music. These include the meaning of existence, the individual's place in society, the interactions of knowledge and power in education, the contradictions of art and commerce, and the blurry line—the tragic line, in the case of Floyd early member Syd Barrett (died in 2006)—between genius and madness. Having dominated pop music for nearly four decades, Pink Floyd's dynamic and controversial history additionally opens the way for these authors to explore controversies about intellectual property, the nature of authorship, and whether wholes—especially in the case of rock bands—are more than the sums of their parts.
How Stanley Kubrick paid his dues to Hollywood On the set of “ Spartacus ' (
1960 ) Stanley Kubrick quietly explains what he wants from Kirk Douglas .
Although Killer ' s Kiss was a step up from Fear and Desire , people were still not
Author: Paul Duncan
Publisher: Taschen America Llc
One of the esteemed filmmakers, Stanley Kubrick (1928-1999) was also one of the enigmatic. He broke into the film scene at the age of 26 with the ambitious, independently produced "Killer's Kiss". This title provides an introduction to the director and coverage of various films he directed.