Stanley Kubrick is generally acknowledged as one of the world’s great directors. Yet few critics or scholars have considered how he emerged from a unique and vibrant cultural milieu: the New York Jewish intelligentsia. Stanley Kubrick reexamines the director’s work in context of his ethnic and cultural origins. Focusing on several of Kubrick’s key themes—including masculinity, ethical responsibility, and the nature of evil—it demonstrates how his films were in conversation with contemporary New York Jewish intellectuals who grappled with the same concerns. At the same time, it explores Kubrick’s fraught relationship with his Jewish identity and his reluctance to be pegged as an ethnic director, manifest in his removal of Jewish references and characters from stories he adapted. As he digs deep into rare Kubrick archives to reveal insights about the director’s life and times, film scholar Nathan Abrams also provides a nuanced account of Kubrick’s cinematic artistry. Each chapter offers a detailed analysis of one of Kubrick’s major films, including Lolita, Dr. Strangelove, 2001, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut. Stanley Kubrick thus presents an illuminating look at one of the twentieth century’s most renowned and yet misunderstood directors.
Twenty years since its release, Stanley Kubrick's Eyes Wide Shut remains 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 the Stanley Kubrick Archive at the University of the Arts, London, and interviews with participants in the production, the authors create an archeology of the film that traces the progress of the film from its origins to its completion, reception, and afterlife. The book is also an appreciation of this enigmatic work and its equally enigmatic creator.
Publisher: Macmillan International Higher Education
Category: Performing Arts
Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) has long been recognised as one of the key artistic expressions of the nuclear age. Made at a time when nuclear war between the United States and the Soviet Union was a real possibility, the film is menacing, exhilarating, thrilling, insightful and very funny. Combining a scene-by-scene analysis of Dr. Strangelove with new research in the Stanley Kubrick Archive, Peter Krämer's study foregrounds the connections the film establishes between the Cold War and World War II, and between sixties America and Nazi Germany. How did the film come to be named after a character who only appears in it very briefly? Why does he turn out to be a Nazi? And how are his ideas for post-apocalyptic survival in mineshafts connected to the sexual fantasies of the military men who destroy life on the surface of the Earth? This special edition features original cover artwork by Marian Bantjes.
In a landmark volume of new essays destined to reshape the parameters of future discourse on American Jews and their relationships to major ideologies and organization of our time, Lipset has brought together many of the finest social analysts of Jewish lifeâboth in the United States and overseas. Indeed, Canadian and Israeli perspectives add a comparative dimension that increases the special value of this book. S. N. Eisenstadt calls attention in his opening chapter to the thrust of the volume as a whole: a focus on the most distinguishing aspect of the American Jewish experienceâthe incorporation of Jews into all arenas and aspects of American life, and the effects of such incorporation on the structuring of Jewish life and self-perception. The work emphasizes the burgeoning of Jewish institutions, the visibility and acceptability of such institutions, and the changing Jewish definition of their collective identity. The work is conceived of as Festschrift, essays in honor of Earl Raab. Thus, the work has a community dimension that typifies Raab's work. The four essays in the final segmentâ"California is Different"âwill come as a pleasant bonus in a work that otherwise features the more global dimensions of Jewish life in America. The first section on the "North American Community" features essays by S. N. Eisenstadt, Nathan Glazer, Arnold Eisen, Chaim Waxman, and Morton Weinfield. The second section on "Politics" contains contributions by Irving Kristol, Carl Sheingold, Eyton Gilboa, and Alan Fisher. The third segment is on "Jewish Community Life" with essays by Daniel Elezar, Larry Ruben, and Arnold Dashevsky. This is, in short, a major collective statement by scholars long associated with the subject. It will be of interest to political scientists and sociologists interested in ethnic studies and Jewish life in America.
An updated and expanded version of this classic study of contemporary American film, the new edition of A Cinema of Loneliness reassesses the landscape of American cinema over the past decade, incorporating discussions of directors like Judd Apatow and David Fincher while offering assessments of the recent, and in some cases final, work from the filmmakers--Penn, Scorsese, Stone, Altman, Kubrick--at the book's core.
Not only do "modern" Jewish languages like Yiddish and Hebrew have their own Jewish writers, but every major Western tongue?from German and Russian to English and Portuguese?does as well. These writers are often at the crossroad between the two traditions: their Jewish one and their own national one. Is there such a thing as a modern Jewish literary tradition, one navigating across linguistic and national lines? If so, how should one define it? Ilan Stavans is uniquely qualified to answer these questions and to comment on the power and challenges of cultural margins and literary crossings. He has been at the forefront of an appreciation of the Jewish literary tradition that is less asphyxiating, more global. His reflections on Jewish Latin America have won him the nickname "pathfinder." This incomparable volume showcases Stavans's most insightful and provocative?and at times controversial?observations on transnational Jewish culture and literature. Stavans explores the problems and prospects of representing Jewish experiences through such media as Holocaust memoirs and Jewish museums; astutely comments on well-known intellectual figures, including Lionel Trilling, Isaac Babel, Primo Levi, Harold Bloom, and Walter Benjamin; engages in memorable conversations with Norman Manea, Joseph Brodsky, and Ariel Dorfman; and offers compelling glimpses of revelatory moments in his own life.
The Wolf at the Door explores the remarkable formal and substantive patterns of cinematic discourse on Germany and the Holocaust in Stanley Kubrick's films. It is the first book on Kubrick to place his cinema into the full context of his life and times - his Jewish past, early years spent under the shadows of fascism and war, and his 1957 marriage into a German family of artists and filmmakers - all provoked his deeply ambivalent preoccupation with the history of Nazi Germany and the Holocaust. The Wolf at the Door draws on intensive study of all of Kubrick's films, interviews with members of Kubrick's immediate family, and archival research in the United States, Germany, the Netherlands, Poland, and Israel.