Taking at its starting point the idea that Kubrick's cinema has constituted an intellectual, cerebral, and philosophical maze in which many filmmakers (as well as thinkers and a substantial fringe of the general public) have gotten lost at one point or another, this collection looks at the legacy of Kubrick's films in the 21st century.The main avenues investigated are as follows: a look at Kubrick's influence on his most illustrious followers (Paul Thomas Anderson, the Coen Brothers, Christopher Nolan, Ridley Scott, and Lars von Trier, to name a few); Kubrick in critical reception; Kubrick in stylistic (camera movements, set designs, music), thematic (artificial intelligence, new frontiers- large and small), aesthetic (the question of genre, pastiche, stereoscopy) and political terms (paranoia, democracy and secret societies, conspiracy theories). The contributions coalesce around the concept of a Kubrickian substrate, rich and complex, which permeates our Western cultural landscape very much to this day, informing and sometimes announcing/reflecting it in twisted ways, 21 years after the director's death.
Author(s): Jeremi Szaniawski
Publisher: Bloomsbury Academic
Year: 2019
Language: English
Pages: 312
Title page
Copyright page
Contents
Acknowledgments
Introduction:1999–2019, and Beyond: A Post-Kubrickian Odyssey
Black Stars
Visible Traces, Invisible Signatures
Kubrick’s Tune
Enter the Brain
Dark Side of the Brain: Kubrick’s Polysemous Cinema
Kubrick’s Post Mortem: Contemporary Heir Apparent Auteurs
A Man and His Times, and Ours
A Dead Star’s Light
Notes
Works Cited
Chapter 1: Stanley Kubrick’s Prototypes: The Author as World-Maker
A Filmmaker of Extremes and of Contradictions
Kubrick’s Authorship: Between One-Offs and Prototypes
Kubrick’s Modernism or (His Critique of) Postmodernism
The Regime of the Brothers
Les extrêmes se touchent
The Legacy
Notes
Works Cited
Chapter 2 “Kubrick’s Cube”: Stanley Kubrick, Judaism, and His Jewish Heirs
A Talmudic Method: Mike Leigh
Talmudic Linguist: David Mamet
“A Grand Unifying Theory of Coen-ness”: Joel and Ethan Coen
Kubrick’s Heir Apparent: Darren Aronofsky
Conclusion
Notes
Works Cited
Chapter 3 Kubrick’s Inheritors: Aesthetics, Independence, and Philosophy in the Films of Joel and Ethan
Notes
Works Cited
Chapter 4 Blurring the Lines between Victim and Perpetrator: Yorgos Lanthimos and the Legacy of Stanley Kubrick
Notes
Works Cited
Chapter 5 Glimpses of Eternity: Stanley Kubrick’s Time Machines
Christopher Nolan: Time as Space
Gaspar Noé: Enter the (Time of the) Brain
Jonathan Glazer: The Time of Missed Connections, Drift, Distraction, and Encounter with the Self
“For the Hungry Boy”: Paul Thomas Anderson’s Time Crystal
Notes
Works Cited
Chapter 6 Kubrickian Dread: Echoes of 2001: A Space Odyssey and The Shining in Works by Jonathan Glazer, Paul Thomas Anderson, and David Lynch
Glazer’s Under the Skin
Anderson’s There Will Be Blood
Lynch’s Twin Peaks: The Return
The Call of the Void
Notes
Works Cited
Chapter 7 Excessive and Incomplete: Kubrick’s Turing
Notes
Works Cited
Chapter 8 Thus Spoke Kubrick: “Guide Pieces,” Modes of Citation and the Rise of the Temp Track
The Path to Zarathustra
A (Very) Brief History of the Temp Track
The Permanent Temp
Listening for 2001 in the Twenty-first Century
Works Cited
Chapter 9 Fade to Crude: Petro-Horror and Kubrick’s The Shining
Notes
Works Cited
Chapter 10 The Anxiety of Interpretation: The Shining, Room 237 and Film Criticism
Notes
Works Cited
Chapter 11 Political Opacity in the Films of Stanley Kubrick
Secrets Everywhere?
No Secret in Sight
From Mask to Obstacle
The Images to Say It, the Words to Show It
Notes
Works Cited
Chapter 12 Coping with the Unknown in 2001: A Space Odyssey and Interstellar
The Sci-Fi Template
The “What If” Scenario and the Unknown Factor
The Reification of Qualities
Taming the Beast
The Sublime(s)
Notes
Works Cited
Chapter 13 Biopolitical Abjection and Sexuation: Stanley Kubrick’s Political Films
Dr. Strangelove: Masturbatory Sovereignty in Power and Desire
A Clockwork Orange: The Masculine Mechanism of Subjectivation and Abjection
Full Metal Jacket: Discipline, Obscenity, and the Feminine Abject-Neighbor
Post-Kubrick Global Cinema
Notes
Works Cited
Chapter 14 Kubrick at the Museum: Post-Cinematic Conditions, Limitations, and Possibilities
“Where Is Cinema?”: Post-Cinematic Conditions
Exhibition of Cinema, Cinema of Exhibition, and Film’s Virtual Life
Cinema and the Museum: Far Away, Yet So Close
Film Auteur, Cinematic Apparatus, and Intermediality
Conclusion
Notes
Works Cited
Chapter 15 The Dead Kitten: Sacrifice in Barry Lyndon
Notes
Works Cited
AppendixInterview with Gaspar Noé
