Stanley Kubrick:
A Bibliography of Materials in the UC Berkeley Library


Books
Journal Articles

Articles and Books on Individual films

Movies by Director videography for works of Kubrick in MRC

Books

Bernardi, Sandro.
Kubrick e il cinema come arte del visibile / Sandro Bernardi. 1a. ed. aggiornata. Milano; Il castoro, 2000. Series title: Gli imprevisti.
UCB Main PN1998.3.K83 B47 2000

Bodde, Gerrit.
Die Musik in den Filmen von Stanley Kubrick Osnabruck : Der Andere Verlag, 2002.
MUSI: ML2075 .B63 2002

Chion, Michel
Kubrick's cinema odyssey. London: British Film Institute, 2001.
MAIN: PN1997.T86 C45 2001

Ciment, Michel
Kubrick: the definitive edition New York: Faber and Faber, 2001.
MAIN: PN1998.3.K83 C513 2001

Ciment, Michel
Kubrick / Michel Ciment. [Paris]: Calmann-Levy, c1980.
MAIN: PN1998.A3 K7365

Ciment, Michel
Kubrick / Michel Ciment; translated from the French by Gilbert Adair. 1st American ed. New York: Holt, Rinehart, and Winston, 1983.
UCB Main PN1998.A3 K736513 1982
UCB Moffitt PN1998.A3 K736513 1982

Cocks, Geoffrey
The wolf at the door : Stanley Kubrick, history, & the Holocaust. New York : P. Lang, c2004.
MAIN: PN1998.3.K83 C63 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0411/2003025248.html

Coyle, Wallace
Stanley Kubrick: A Guide to References and Resources / Wallace Coyle. Boston: G. K. Hall, c1980. Series title: A Reference publication in film.
UCB Main PN1998.A3 .K7367
UCB Moffitt PN1998.A3 .K7367

De Vries, Daniel
The Films of Stanley Kubrick. Grand Rapids, Eerdmans [1973].
UCB Main PN1998.A3 K7371

Depth of field : Stanley Kubrick, film, and the uses of history
Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Falsetto, Mario
Stanley Kubrick: a narrative and stylistic analysis / Westport, Conn.: Praeger, 2001.
MAIN: PN1998.3.K83 F35 2001

Falsetto, Mario
Stanley Kubrick: A Narrative and Stylistic Analysis / Mario Falsetto. Westport, Conn.: Greenwood Press, 1994. Series title: Contributions to the study of popular culture no. 39.
UCB Main PN1998.3.K83 F35 1994
UCB Moffitt PN1998.3.K83 F35 1994

Garcia Mainar, Luis M.
Narrative and stylistic patterns in the films of Stanley Kubrick / Luis M. Garcia Mainar. Rochester, N.Y.: Camden House, 1999. European studies in American literature and culture
Main Stack PN1998.3.K83.G37 1999

Gorbman, Claudia
"Ears wide open : Kubrick's music." In: Changing tunes : the use of pre-existing music in film / edited by Phil Powrie, Robynn Stilwell. Aldershot, England ; Burlington, VT : Ashgate, c2006.
Music ML2075.C46 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005013075.html

Herr, Michael
Kubrick / Michael Herr. New York: Grove Press, 2000.
Main Stack PN1998.3.K83 H47 2000

Howard, James
Stanley Kubrick companion / James Howard. London: Batsford, c1999.
Main Stack PN1998.3.K83.H69 1999

Jenkins, Greg
Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films / Greg Jenkins. Jefferson, N.C.: McFarland, c1997.
UCB Moffitt PN1997.85 .J46 1997

Kagan, Norman
The Cinema of Stanley Kubrick. 3rd ed. New York: Continuum, 2000.
Main Stack PN1998.A3 K74 2000;
UCB Moffitt PN1998.3.K83 K3 1989 (another edition)
UCB Main PN1998.A3 K74 (another edition: New York, Holt, Rinehart and Winston [1972].)

Kirchmann, Kay
Stanley Kubrick: Das Schweigen der Bilder / Kay Kirchmann. [Marburg]: Hitzeroth, c1993. Series title: Aufblende; Bd. 6.
UCB Main PN1998.3.K83 K57 1993

Kubrick, Stanley.
Stanley Kubrick: interviews Jackson: University Press of Mississippi, c2001.
UCB Main PN1998.3.K83 A5 2001

LoBrutto, Vincent
Stanley Kubrick: A Biography / Vincent LoBrutto. New York: D.I. Fine Books, c1997.
UCB Main PN1998.3.K83 L6 1997

Magistrale, Tony.
"Kubrickian terrors." In: Abject terrors : surveying the modern and postmodern horror film / Tony Magistrale. New York : Peter Lang, c2005.
Main Stack PN1995.9.H6.M248 2005
Moffitt PN1995.9.H6.M248 2005

Mamber, Stephen
"In search of radical metacinema." In: Comedy/cinema/theory / edited by Andrew Horton. p. 79-90. Berkeley: University of California Press, c1991.
Main Stack PN1995.9.C55.C65 1991
Moffitt PN1995.9.C55.C65 1991

Nelson, Thomas Allen
Kubrick, Inside a Film Artist's Maze / Thomas Allen Nelson. New and expanded ed. Bloomington: Indiana University Press, 2000.
Moffitt PN1998.3.K83 N45 2000
UCB Main PN1998.A3 K743 (another edition)
UCB Moffitt PN1998.A3 K743 (another edition)

Perspectives on Stanley Kubrick
Edited by Mario Falsetto. New York: G.K. Hall; London: Prentice Hall International, c1996. Series title: Perspectives on film.
UCB Main PN1998.3.K83 P47 1996
UCB Moffitt PN1998.3.K83 P47 1996

Phillips, Gene D.
The Encyclopedia of Stanley Kubrick. New York, NY: Facts on File, c2002.
MAIN: PN1998.3.K83 H55 2002

Phillips, Gene D.
"Stanley Kubrick: stop the world." In: Phillips, Gene D. Major film directors of the American and British cinema / Gene D. Phillips. Rev. ed. p. 125-41. Bethlehem [Pa.]: Lehigh University Press; London: Associated University Presses, c1999.
Electronic location: http://www.netlibrary.com/summary.asp?id=23896
Main Stack PN1998.2.P55 1999
Moffitt PN1998.2.P55 1999

Rasmussen, Randy.
Stanley Kubrick; seven films analyzed Jefferson, N.C.: McFarland, c2001.
UCB Main PN1998.3.K83 R37 2001;

Schickel, Richard
"Stanley Kubrick: the unbearable brevity of being." In: Schickel on film: encounters--critical and personal--with movie immortals / Richard Schickel. 1st ed. p. 82-92. New York: Morrow, c1989.
Main Stack PN1995.S341 1989

Sperb, Jason
The Kubrick facade : faces and voices in the films of Stanley Kubrick Lanham, Md. : Scarecrow Press, 2006.
MAIN: PN1998.3.K83 S64 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0610/2006007581.html

Walker, Alexander
Stanley Kubrick, Director. Rev. and expanded. New York: Norton, c1999.
Main Stack PN1998.3.K83 W36 1999

Walker, Alexander
Stanley Kubrick Directs. [1st ed.]. New York, Harcourt Brace Jovanovich [1971].
UCB Main PN1998.A3 K75
UCB Moffitt PN1998.A3 K75

Journal Articles

Anger, Cedric.
"Le dernier expressionniste." Cahiers du Cinema no534 Apr 1999. p. 28-9.
"Part of a special section on filmmaker Stanley Kubrick. The expressionist character of Kubrick's oeuvre is discussed. Kubrick did not attempt to stun his audience with boundless panache, rather, he aimed to recreate the magical power of the fascination generated by silent movies. Each one of his films attempts to recreate the visual impact and hallucinatory power of early cinema and to return to the camera all of its expressive power. For Kubrick, films were meant to amaze and to be watched with the mouth and eyes wide open, and he was at his best when his characters were silent and lighting and music were used to their maximum effect." [Art Abstracts]

Anger, Cedric.
"Kubrick, cote cuisine." Cahiers du Cinema no539 Oct 1999. p. 7-8.
"Following the death of Stanley Kubrick, the writer discusses three books on the filmmaker: Stanley Kubrick, by John Baxter; Deux ans avec Kubrick, by Frederic Rafael; and Kubrick, by Michel Ciment. Baxter's book offers a minutely detailed investigation of Kubrick's life and is most interesting for the information it provides on his early career. Rafael's book is an insider's account by the screenwriter of Eyes Wide Shut that recounts the stages and writing methods employed for Kubrick's last film. Ciment's book is a reedition that includes a chapter on Eyes Wide Shut." [Art Abstracts]

Cocks, Geoffrey
"Stanley Kubrick's dream machine: Psychoanalysis, film, and history." Annual of Psychoanalysis. Vol 31, 2003, pp. 35-45
"This paper shows the value of using a depth-psychological approach in understanding the life and work of the film director Stanley Kubrick. This director is an especially compelling example of the relevance of Freud and psychoanalysis to film. Among other things, his last film, "Eyes Wide Shut," was based on a story by Arthur Schnitzler, a Viennese writer whose psychological insight was much admired by Freud. Kubrick was also a latter-day practitioner of German Expressionism who described his films as dreams. Kubrick was, like Freud, a modernist who believed in the power of reason and in the didactic authority of the artistic expression of ideas. He adopted Freud's view that good and evil were inextricably bound together in the depths of the human personality. But he was also postmodern in his skepticism toward the Enlightenment project of progressive scientific rationalism. His method of filmmaking also reflected a postmodern sensibility through its interrogation of genre and the construction of an "open narrative" that erases the transparency of the film form and requires the critical engagement of the audience in the discovery-and invention-of meaning." [PsychInfo]

Collins, Floyd.
"Implied Metaphor in the Films of Stanley Kubrick." New Orleans Review, vol. 16 no. 3. 1989 Fall. pp: 96-100.

Combs, Richard.
"Kubrick Talks!" Film Comment v. 32 (Sept./Oct. '96) p. 81-4.
UC users only
"Filmmaker Stanley Kubrick is one of those famous people whose rejection of the effects of fame unavoidably heightens and defines it and whose retreat from public life is simply another type of public show. This situation is both coy and surreal, as Kubrick's sporadic productivity is accompanied by all the typical showbiz glamour and excitement. In addition, Kubrick's is a lonely intelligence that insists on the total overview, is intrigued by systems and control, is attracted to all forms of modern technology that can achieve control, and is finally pessimistic about the capacity of mere human intelligence to exercise such control." [Art Abstracts]

Crawley, Geoffrey.
"Film giant Stanley Kubrick dies at 70." British Journal of Photography no7215 Mar 10 1999. p. 3.
"Film director Stanley Kubrick died on March 7, 1999, at the age of 70. Although Kubrick will be remembered as one of the outstanding movie directors, he started his career as a stills photographer. His interest in still pictures never diminished, and, as a perfectionist in all things photographic, neither did his interest in camera development. He was a dedicated long-term reader of the British Journal of Photography and regularly came up with ideas for articles, several of which were actively pursued. A fascinating documentary that deals with the making of The Shining, shot by one of Kubrick's daughters, and The Invisible Man, a profile of Kubrick used to begin a season of his films on Britain's Channel 4, are also discussed." [Art Abstracts]

Denby, David.
"Last waltz." (Review) New Yorker v75, n20 (July 26, 1999):84 (4 pages).

Feldmann, Hans Eugene.
"Kubrick and his discontents." Film Quarterly v 30 no1 Fall 1976. p. 12-19
UC users only

Hughes, Philip.
"The Alienated and Demonic in the Films of Stanley Kubrick: Cinemanalysis with a Freudian Technophobic Argument." Journal of Evolutionary Psychology, vol. 3 no. 1-2. 1982 Apr. pp: 12-27.

Holden, Stephen
"Stanley Kubrick, film director with a bleak vision, dies at 70." (Obituary) The New York Times Feb 8, 1999 pA1(L) col 1 (29 col in)

James, Nick.
"At home with the Kubricks." (Christiane, Anya and Katharina Kubrick)(Interview) Sight and Sound v9, n9 (Sept, 1999):12 (7 pages).
" Part of a special issue on Stanley Kubrick. An interview with the film director's wife, Christiane, and two of his three daughters, Anya and Katharina. They discuss, among other things, what Kubrick was like as a father and family man, his working life, and their anger at much of what has been said about Kubrick over the years and in the aftermath of his death." [Art Abstracts]

Johnson, Diane.
"Stanley Kubrick (1928-1999)." New York Review of Books v46, n7 (April 22, 1999):28.
Filmmaker Stanley Kubrick believes that film is both art and play. His works reflect his pessimistic view of things in general which seem to have arisen from his wish for perfection. As an artist, he is always interested in influencing as many aspects of film making.

Jones, Kent.
"Un conteur metaphysique." Cahiers du Cinema no534 Apr 1999. p. 25-7.
"Part of a special section on filmmaker Stanley Kubrick. The writer discusses Kubrick's oeuvre. The impression that a thinking machine conceived, modulated, and determined the rhythm of the images and sound in Kubrick's films is something that the filmmaker desired and encouraged. Kubrick, whose style always shone thanks to its graphic precision, was always regarded as an intellectual who observed the world from above, like a prodigious technician. Although this is true, it only accounts for part of the phenomenon that is Kubrick: He was also a prodigious showman who, from the beginning, displayed great skill for creating suspense. He was also one of those rare filmmakers who care enough about their audience to put something miraculous into each of their films." [Art Abstracts]

Kauffmann, Stanley.
"Stanley Kauffmann on Films; Kubrick: A Sadness.: (Review) New Republic (August 16, 1999):30.

Kemp, Philip.
"Stanley Kubrick 1928-99." (Obituary) Sight and Sound (April, 1999):4.
Film director Stanley Kubrick has died, barely a week after finishing his final film Eyes Wide Shut. After directing Spartacus in 1960, Kubrick announced that he would never make another film unless he had full artistic freedom, and he got it. Studios funded whatever he chose to make without question, while major stars placed themselves unreservedly at his disposal. Accounts of Kubrick's icy perfectionism overlook not only his willingness to improvise on set, but also his persuasive charm and his restless readiness to innovate. Kubrick was never merely the all-knowing, didactic control freak he has often been depicted as; he, like his films, was riven with tensions and ambiguities." [Art Abstracts]

Naremore, J.
"Stanley Kubrick and the Aesthetics of the Grotesque" [Cover story]. Film Quarterly v. 60 no. 1 (Fall 2006) p. 4-14
UC users only
"Many features of director Stanley Kubrick's style create a cold emotional tone or an air of perfectionism and aesthetic detachment. First among these is what Time magazine once referred to as the lapidary" quality of his photographic imagery, which depends upon visibly motivated and rather hard light sources, and which normally favors a deep-focus, crystal-clear resolution. Kubrick also liked to use the wide-angle lens, which he employed similarly to Orson Welles, to establish a frightening, dynamic, and sometimes caricatured sense of space. Like Welles and Max Ophuls, he was a virtuoso of the moving camera, although he normally created a more rigidly geometrical scene. Kubrick's tracking movements follow the characters in a lateral direction, moving past objects in the foreground, or they advance ruthlessly down an eerie corridor toward impending doom, rather like the unstoppable march of a military maneuver. [Art Index]

Peucker, Brigitte
"Kubrick and Kafka: the corporeal uncanny." (director Stanley Kubrick, writer Franz Kafka)(Critical Essay) Modernism/Modernity Nov 2001 v8 i4 p663(12)
UC users only
"A quote by 19th-century writer Franz Kafka that his "stories are a way of shutting my eyes" is used as a starting point to investigate the film work of Stanley Kubrick, particularly his film "Eyes Wide Shut." Topics include the mind's eye, the manner in which images wound the consciousness and speak in silence, Kafka's treatment of sexuality and eating, and Kubrick's portrayals of sexuality." [Expanded Academic Index]

Pipolo, T.
"The Modernist & the misanthrope: the cinema of Stanley Kubrick." Cineaste v. 27 no. 2 (Spring 2002) p. 4-15, 49
UC users only
"The cinema of the late Stanley Kubrick is examined. For many film scholars and directors, Kubrick was the quintessential filmmaker. He had an aesthetic and unmatched technical command of the filmic medium and an unconventional approach to narrative, and it this often perplexing conflation of aesthetics, technology, and narrative that has made his work the singular phenomenon it is today. Few other commercial filmmakers generated as much controversy and excitement in advance or after a new film, and the films themselves "have become part of the aesthetic and political unconscious of our culture." The year 2001 saw a constant flow of "Kubrickiana" emerge: At least 12 books (new and revised) are in print, and 11 of his 13 feature films are now available on VHS and DVD, most of them newly remastered. Referring to this material, the writer goes on to discuss Kubrick's films, critical reaction to them over the years, and the picture of the filmmaker that emerges from books and critical studies of his work." [Art Index]

Kuberski, Philip
"Plumbing the Abyss: Stanley Kubrick's Bathrooms." Arizona Quarterly: A Journal of American Literature, Culture, and Theory, vol. 60, no. 4, pp. 139-60, Winter 2004

"The Last Emperor: how Stanley Kurbrick called the world to order."(Obituary)
New Yorker v75, n4 (March 22, 1999):120 (4 pages).

Mamber, Stephen
"Parody, Intertextuality, Signature: Kubrick, DePalma, and Scorsese." Quarterly Review of Film and Video v12, n1-2 (May, 1990):29 (7 pages).

McKissack, Fred
"My Stanley Kubrick." (Column) The Progressive Sept 1999 v63 i9 p39
UC users only
"A writer describes the affects that Stanley Kubrick's earlier films have had on him after seeing Kubrick's last film "Eyes Wide Shut." In 1982, he found "The Shining" to be extremely scary when he saw it on a double-bill with the Exorcist as the main feature." [Expanded Academic Index]

Meisenheimer, Donald K., Jr.
"Machining the Man: From Neurasthenia to Psychasthenia in SF and the Genre Western." Science-Fiction Studies, vol. 24 no. 3 (73). 1997 Nov. pp: 441-58.

Morrison, James.
"The old masters: Kubrick, Polanski, and the late style in modern cinema." Raritan: a quarterly review (21:2) 2001, 29-47. (2001)
UC users only
The article examines the apparent paradox of sensuality and social distance in the works of filmmakers Stanley Kubrick and Roman Polanski, and the emotional suffering inherent in that schism. Discussion centers on Polanski's 'The Ninth Gate' and Kubrick's 'Eyes Wide Shut.'

Naremore, J.
"Stanley Kubrick and the Aesthetics of the Grotesque." [Cover story]. Film Quarterly v. 60 no. 1 (Fall 2006) p. 4-14
UC users only
"Many features of director Stanley Kubrick's style create a cold emotional tone or an air of perfectionism and aesthetic detachment. First among these is what Time magazine once referred to as the lapidary" quality of his photographic imagery, which depends upon visibly motivated and rather hard light sources, and which normally favors a deep-focus, crystal-clear resolution. Kubrick also liked to use the wide-angle lens, which he employed similarly to Orson Welles, to establish a frightening, dynamic, and sometimes caricatured sense of space. Like Welles and Max Ophuls, he was a virtuoso of the moving camera, although he normally created a more rigidly geometrical scene. Kubrick's tracking movements follow the characters in a lateral direction, moving past objects in the foreground, or they advance ruthlessly down an eerie corridor toward impending doom, rather like the unstoppable march of a military maneuver." [Art Index]

Nicholson, Mervyn
"My dinner with Stanley: Kubrick, food, and the logic of images" Literature/Film Quarterly (29:4) 2001:4 , 279-289 . (2001)
UC users only
Stanley Kubrick often used the motif of food to lead audiences into the visionary and heroic possibilities of his motion pictures. Food is equated with existence in '2001: A Space Odyssey,' with sexual pleasure in 'Lolita,' with corporate greed in 'Dr. Strangelove,' and with violating taboos in 'Full Metal Jacket.' [Expanded Academic Index]

Peucker, Brigitte
"Kubrick and Kafka: the corporeal uncanny." (director Stanley Kubrick, writer Franz Kafka)(Critical Essay) Modernism/Modernity Nov 2001 v8 i4 p663(12)
UC users only
"A quote by 19th-century writer Franz Kafka that his "stories are a way of shutting my eyes" is used as a starting point to investigate the film work of Stanley Kubrick, particularly his film "Eyes Wide Shut." Topics include the mind's eye, the manner in which images wound the consciousness and speak in silence, Kafka's treatment of sexuality and eating, and Kubrick's portrayals of sexuality." [Expanded Academic Index]

Pipolo, Tony .
"The modernist and the misanthrope: The cinema of Stanley Kubrick." Cineaste Spring 2002 v27 i2 p4(14)
UC users only
"The cinema of the late Stanley Kubrick is examined. For many film scholars and directors, Kubrick was the quintessential filmmaker. He had an aesthetic and unmatched technical command of the filmic medium and an unconventional approach to narrative, and it this often perplexing conflation of aesthetics, technology, and narrative that has made his work the singular phenomenon it is today. Few other commercial filmmakers generated as much controversy and excitement in advance or after a new film, and the films themselves "have become part of the aesthetic and political unconscious of our culture." The year 2001 saw a constant flow of "Kubrickiana" emerge: At least 12 books (new and revised) are in print, and 11 of his 13 feature films are now available on VHS and DVD, most of them newly remastered. Referring to this material, the writer goes on to discuss Kubrick's films, critical reaction to them over the years, and the picture of the filmmaker that emerges from books and critical studies of his work." [Art Index]

Pollack, Sydney
"Kubrick, l'homme qui savait tout". Cahiers du Cinema no539 Oct 1999. p. 6.
"Producer, director, and actor Sydney Pollack discusses his work and friendship with the late Stanley Kubrick. Topics discussed include his experience acting in Eyes Wide Shut; how he always found Kubrick to be available, alert, and kind; and how, despite never leaving his home in England, Kubrick managed to remain in touch with everything that was going on through daily telephone conversations with his friends around the world." [Art Abstracts]

"Quest for perfection."
American Cinematographer v 80 no10 Oct 1999. p. 40-2+.
"Following the death of film director Stanley Kubrick in 1999, several of his collaborators discuss the man and his work. Contributors include Larry Smith, cinematographer on Eyes Wide Shut; Ken Adam, production designer on Dr. Strangelove and Barry Lyndon; and Garrett Brown, steadicam operator on The Shining."

Ross, Alex.
"Stanley Kubrick was my friend, too." (tribute to the late film director) New Yorker v75, n21 (August 2, 1999):37.

Sperb, J.
"The Country of the Mind in Kubrick's "Fear and Desire"." Film Criticism v. 29 no. 1 (Fall 2004) p. 23-37
UC users only
"Stanley Kubrick's first film Fear and Desire provides some crucial cues to understanding the ways narrative meaning can (and cannot) exist within the films overseen by the filmmaker. In this allegorical film, which tells the story of four soldiers trapped behind enemy lines in a nameless war, Kubrick made a series of stylistic decisions that his films later refined, including the use of voice-over narration and multiple story lines. These elements, which are crucial to constructing a narrative authority over events and their meaning within the film, importantly contradict the reputation of his later films for ambiguity. This film was not merely his first film but also the first important Kubrick film, which stands as the last exhumed text through which to better understand the artistic evolution of one of cinema's most preeminent contributors." [Art Index]

Tesson, Charles.
"Seul contre lui." Cahiers du Cinema no534 Apr 1999. p. 22-3.
Part of a special section on filmmaker Stanley Kubrick. Kubrick, who died suddenly on March 7, 1999, was the absolute master of his own cinema. He got his revenge on Hollywood for taking away part of his control over the film Spartacus and managed to impose his own rules and his own way of operating. His films, including 200l: A Space Odyssey and The Shining, displayed a fascination with machinery and depicted the violence and folly of humankind. What gives these films their profound originality is a monumentality that disturbs the realm of the intimate." [Art Abstracts]

Tibbetts, John C.
"Stanley Kubrick: A life in pictures" Literature/Film Quarterly (29:4) 2001:4 , 250-251 . (2001)
UC users only

"Truth is a pathless land." (the films of Stanley Kubrick)(Critical Essay)
Economist (US) v352, n8128 (July 17, 1999):79.

Uhlich, Keith
"Stanley Kubrick" (Great Directors: A Critical Database) Senses of Cinema
UC users only

Watson, Ian.
Memoirs of a Kubrick mind slave.(Stanley Kubrick)(Obituary) New Yorker v75, n4 (March 22, 1999):44 (2 pages).

Watson, Ian.
"Plumbing Stanley Kubrick." New York Review of Science Fiction. 12(9 (141)):1, 4-12. 2000 May.

Books and Articles on Individual Films

Barry Lyndon

Azalbert, Nicolas
"Barry Lyndon de Stanley Kubrick." Cahiers du Cinema hors/serie Dec 2001. p. 14
"Part of a special issue reviewing movies reissued on DVD. A review of the DVD of Stanley Kubrick's Barry Lyndon (1975). Of all Kubrick's films, Barry Lyndon is the one that most requires the improvements of the DVD format, on account of degradation of the film layer since it was made. The DVD offers dumbfounded viewers a virtual restoration of a film in which all Kubrick's mastery shines to the full." [Art Index]

Bledsoe, Robert
"Kubrick's "Vanity Fair"Kubrick's "Vanity Fair"." Rocky Mountain Review of Language and Literature, Vol. 31, No. 2 (Spring, 1977), pp. 96-99
UC users only

Coppedge, Walter
"Barry Lyndon: Kubrick's elegy for an age." Literature/Film Quarterly (29:3) 2001:3 , 172-178 . (2001)
UC users only
"Stanley Kubrick significantly altered the portrayal of Barry Lyndon from William Makepeace Thackeray's character in the film adaptation. Kubrick replaced an unpleasant appearance with the classical physical characteristics of Ryan O'Neal, eliminated much of Barry's objectionable behavior, and made him dignified and composed." [Expanded Academic Index]

Cosgrove, Peter.
"The Cinema of Attractions and the Novel in Barry Lyndon and Tom Jones." In: Eighteenth-Century Fiction on Screen / edited by Robert Mayer.pp: 16-34. Cambridge, U.K. ; New York : Cambridge University Press, 2002.
Main Stack PN1997.85.E39 2002

Cossa, Frank.
"Images of Perfection: Life Imitates Art in Kubrick's Barry Lyndon." Eighteenth-Century Life, vol. 19 no. 2. 1995 May. pp: 79-82.

Dempsey, M.
"Reviews; Barry Lyndon." Film Quarterly v. 30 no. 1 (Fall 1976) p. 49-54

Engell, John.
"Barry Lyndon, a Picture of Irony." Eighteenth-Century Life, vol. 19 no. 2. 1995 May. pp: 83-88.

Hesling, Willem
"Kubrick, Thackeray and the memoirs of Barry Lyndon, Esq." Literature/Film Quarterly (29:4) 2001:4 , 264-278 . (2001)
UC users only

Izod, John.
"Barry Lyndon and the limits of understanding." In: Screen, culture, psyche : a post-Jungian approach to working with the audience / John Izod. London ; New York : Routledge, 2006.
Main Stack PN1995.I97 2006
Table of contents http://www.loc.gov/catdir/toc/ecip064/2005033832.html

Johnson, Jeffrey L. L.
"The Eighteenth-Century Ape: Barry Lyndon and the Darwinian Pessimism of Stanley Kubrick." Eighteenth-Century Life, vol. 19 no. 2. 1995 May. pp: 89-91.

Kermode, Mark.
"Endnotes." Sight and Sound ns5 July 1995. p. 63.
"The soundtrack to Stanley Kubrick's Barry Lyndon is now available on CD. This is a laudable exercise in film score compilation, but, ironically, the soundtrack like the film is a technical rather than an artistic triumph. Unlike the soundtrack to Kubrick's 2001: A Space Odyssey or even to Steven Spielberg's Jaws, both by John Williams, the soundtrack to Barry Lyndon is more an exacting journal of record than a satisfying listening experience. It includes pieces by The Chieftains, Mozart, and Handel." [Art Abstracts]

Klein, Michael.
"Narrative and Discourse in Kubrick's Modern Tragedy" In: The English Novel and the Movies / edited by Michael Klein and Gillian Parker. pp: 95-107. New York: Ungar, c1981
MAIN:Main Stack PN1997.85.E53
MAIN:Moffitt PN1997.85.E53

Knapp, Elise F.
"Music in Kubrick's Barry Lyndon: 'A Catalyst to Manipulate'." Eighteenth-Century Life, vol. 19 no. 2. 1995 May. pp: 92-97.

Ross, Benjamin.
"Eternal Yearning."(Stanley Kubrick's 'Barry Lyndon') Sight and Sound v5, n10 (Oct, 1995):42.
The chief characteristic of Stanley Kubric's films is not innocence but its struggle for innocence. 'Barry Lyndon' falls in the category of those films which are rejected by the audiences on their first release only to become masterpieces later. In this film Kubrick has tried to slow down action to such a level that it becomes like a trance. Kubric's cinematic style is the antithesis of popular film today.

Miller, Mark Crispin
"Kubrick's Anti-Reading of The Luck of Barry Lyndon." MLN, Vol. 91, No. 6, Comparative Literature (Dec., 1976), pp. 1360-1379
UC users only

Nelson, Thomas Allen
"Barry Lyndon: Kubrick's Cinema of Disparity." Rocky Mountain Review of Language and Literature, Vol. 33, No. 1 (Winter, 1979), pp. 39-51
UC users only

Sinyard, Neil
"Adaptation as criticism: four films." In: Filming literature: the art of screen adaptation / Neil Sinyard. p. 117-41. London: Croom Helm, c1986.
Moffitt PN1997.85.S5 1986
Main Stack PN1997.85.S521 1986

Stephenson, W.
"The Perception of 'History' in Kubrick's Barry Lyndon." Literature/Film Quarterly, IX/4, 81; p.251-260.
UC users only
Compares the 18th-century story told by Thackeray in the 19th century to the early 20th century view portrayed in the film.

Wickre, Bille
"Pictures, plurality, and puns : a visual approach to Barry Lyndon." In: Depth of field : Stanley Kubrick, film, and the uses of history Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Clockwork Orange

Anderson, Craig W.
Science Fiction Films of the Seventies. pp: 41-6. Jefferson, N.C.: McFarland, c1985. (UCB Main PN1995.9.S26 A82 1985)

Beja, Morris.
Film & Literature, An Introduction. pp: 293-302. New York: Longman, c1979.
MAIN:UCB Main PN1995.3 .B4
MAIN:UCB Moffitt PN1995.3 .B4

Bookbinder, Robert.
The Films of the Seventies. pp: 45-6. 1st ed. Secaucus, N.J.: Citadel Press, c1982.
Main Stack PN1993.5.U6.B651 1982

Brisbin, Richard A.
"Censorship, Ratings, and Rights: Political Order and Sexual Portrayals in American Movies." Studies in American Political Development. Apr 2002. Vol. 16, Iss. 1; p. 1 (27 pages)
UC users only

Burgess, J.
"A Clockwork Orange." (Film review). Film Quarterly, Spring 72. XXV/3, Spring 72; p.33-36. illus.
UC users only

Carruthers, Susan
"Past Future: The Trouble History of Stanley Kubrick's A Clockwork Orange." (motion picture research and evaluation) National Forum Spring 2001 v81 i2 p29
UC users only

Chapman, James.
"'A Bit of the Old Ultra-Violence': A Clockwork Orange." In: British science fiction cinema / edited by I.Q. Hunter. pp: 128-37 London; New York: Routledge, 1999. British popular cinema.
Main Stack PN1995.9.S26.B65 1999

Ciment, Michel.
Kubrick. Translated from the French by Gilbert Adair. pp: 148-65 1st American ed. New York: Holt, Rinehart, and Winston, 1983.
MAIN:UCB Main PN1998.A3 K736513 1982
MAIN:UCB Moffitt PN1998.A3 K736513 1982 2.

VIDEO
An Examination of Kubrick's A Clockwork Orange [videorecording]. Kent, CT: Creative Arts Television, c1997. 1 videocassette (30 min.)
VIDEO/C 5968 Media Center

Daniels, D.
"A clockwork orange." Sight & Sound v. 42 no. 1 (Winter 1972-1973) p. 44-6

Farber, Stephen
"The Old Ultra-Violence." The Hudson Review, Vol. 25, No. 2 (Summer, 1972), pp. 287-294
UC users only

French, Philip.
"A Clockwork Orange." Sight and Sound v59, n2 (Spring, 1990):84 (4 pages).

Gehrke, Pat J.
"Deviant Subjects in Foucault and A Clockwork Orange: Congruent Critiques of Criminological Constructions of Subjectivity." Critical Studies in Media Communication v18, n3 (Sept, 2001):270.
UC users only
Author Abstract: The expansion of social scientific models for controlling crime and deviancy provided the context for both Stanley Kubrick's film A Clockwork Orange and much of Foucault's writing. This essay examines how Foucault's writings and Kubrick's film lay out congruent critiques of social scientific and criminological attempts to define and constitute deviancy and subjectivity. Foucault's texts and Kubrick's film ask us to remember the violence of our everyday existence and to recognize our modern nightmares as portents of what lies along the path that we have followed. COPYRIGHT 2001 Speech Communication Association.

Gehrke, Pat J.
"Deviant Subjects in Foucault and A Clockwork Orange: Congruent Critiques of Criminological Constructions of Subjectivity." In: Depth of field : Stanley Kubrick, film, and the uses of history Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Hanoch-Roe, Galia
"Beethoven's "Ninth": An 'Ode to Choice' as Presented in Stanley Kubrick's "A Clockwork Orange"." International Review of the Aesthetics and Sociology of Music, Vol. 33, No. 2 (Dec., 2002), pp. 171-179
UC users only

Hart, H.
"Clockwork Orange."(Film review). Films in Review, XIII/1, Jan 72; p.51.

Isaacs, Neil D.
"Unstuck in Time: Clockwork Orange and Slaughterhouse-Five." Literature/Film Quarterly. Spring 1973. Vol. 1, Iss. 2; p. 122 (10 pages)
UC users only

Jackson, Kevin.
"Real horrorshow." (Anthony Burgess' 'A Clockwork Orange') Sight and Sound v9, n9 (Sept, 1999):24 (4 pages).
"Part of a special issue on Stanley Kubrick. The writer considers the history of Anthony Burgess's novel A Clockwork Orange and Kubrick's film adaptation of it. He constructs his article in 21 sections, each headed by a word from Nadsat, the language that Burgess invented for his novel. Critiquing the adaptation, he argues that while the film has its merits, it is a mean-spirited exercise in dim sarcasm that is, for long stretches, egregariously dull." [Art Abstracts]

Lichtenberg, Illya; Lune, Howard; McManimon, Patrick Jr.
""Darker Than Any Prison, Hotter Than Any Human Flame": Punishment, Choice, and Culpability in A Clockwork Orange." Journal of Criminal Justice Education. Fall 2004. Vol. 15, Iss. 2; p. 429 (21 pages)
UC users only

LoBrutto, Vincent.
"The old ultra-violence." American Cinematographer v 80 no10 Oct 1999. p. 52-6+.
"The production of Stanley Kubrick's film A Clockwork Orange, released in 1971, is discussed. Kubrick's adaption of Anthony Burgess's novella, with cinematography by John Alcott, centers on a teenage sociopath who, along with a trio of criminal cohorts, engages in muggings, rape, fights, and various other vicious crimes until he is convicted of a sadistic murder. The film is depicted in three segments, each of which has a distinctive color palette and camera style that expresses the narrative. Aiming to stylize the violence in the film, Kubrick undercranked the camera to cinematically interpret the graphic images of brutality. The most subtle yet extreme departure from reality in the film is perhaps the scene of Alex and his cohorts taking a midnight joyride, which was photographed on a process stage with the passing scenery in the nighttime background plate glowing in ghostly fashion. Kubrick, a master at the use of projection effects, probably used the exaggerated background plate in order to convey his drug-addled characters' euphoria." [Art Abstracts]

Magill's Survey of Cinema: English Language Films. Second Series. v1 pp:475-79

New York Times, (Dec. 20, 1971), p. 44

New York Times, (Jan. 9, 1972), Sect. II, p. 1

New York Times, (Feb. 6, 1972), Sect. II, p. 13

New York Times, (Feb. 13, 1972), Sect. II, p. 1

New Yorker, v47 (Jan. 1, 1971), pp: 50-3

Petley, Julian; Chabrol, Claude.
"Clockwork Crimes." (censoring 'A Clockwork Orange')(includes related article on film violence) Index on Censorship v24, n6 (Nov-Dec, 1995):48 (5 pages).
Stanley Kubrick stopped the distribution of 'A Clockwise Orange' in Britain after both he and his movie were criticized by the press. The British Board of Censorship passed the movie but British distributors and exhibitors opposed the decision and asked for strict censorship. The press and others asserted that the movie was responsible for a series of 'copycat crimes' and a spurt in teenage violence.

Sight and Sound, v41 (Winter 1971/1972), pp: 44-6

Sobchack, Vivian C.
"Decor as Theme: A Clockwork Orange." Literature/ Film Quarterly, vol. 9 no. 2. 1981. pp: 92-102.

Stein, Michael Eric.
"The New Violence or Twenty Years of Violence in Films: An Appreciation.(part 1)." Films in Review v46, n1-2 (Jan-Feb, 1995):40 (9 pages).

Strick,Philip
"Kubrick's Horrorshow." Sight & Sound, XLI/1, Winter 71-72; p.44-46.

Village Voice (review), (Dec. 30, 1971), p49

Wagner, Geoffrey Atheling.
The Novel and the Cinema. pp: 307-13. Rutherford, N.J.: Fairleigh Dickinson University Press, [1975].
UCB Main PN1997.85 .W331
UCB Moffitt PN1997.85 .W33

Dr. Strangelove

Adam, Ken.
"Will it dress?" Sight and Sound ns9 no9 Sept 1999. p. 62-3.
"Part of a special issue on Stanley Kubrick. The writer discusses his experiences working with Kubrick as the set designer on Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. He focuses in particular on how they solved the problems related to the film's war room and reveals how working with Kubrick forced him to become more flexible." [Art Abstracts]

Baxter, P.
"The One Woman."Wide Angle, VI/1, 84; p.34-41.
An analysis of "Dr. Strangelove: or, How I learned to stop worrying and love the bomb" in a psychoanalytical perspective, esp. the one scene with a woman in it.

Blythe, Hal; Sweet, Charlie
"Holden, the Bomb, and Dr. Strangelove." Notes on Contemporary Literature, vol. 34, no. 3, pp. 11-12, May 2004

Bromwich, David.
"Dr. Strangelove." (movie reviews) New Leader v77, n10 (Oct 10, 1994):20 (2 pages).

Burgess, Jackson
"The "Anti-Militarism" of Stanley Kubrick." Film Quarterly, Vol. 18, No. 1 (Autumn, 1964), pp. 4-11
UC users only

Carringer, Robert
"Kubrick's "Dr. Strangelove": A Guide to Study." Journal of Aesthetic Education, Vol. 8, No. 1, Special Issue: Film III, Morality in Film and Mass Media (Jan., 1974), pp. 43-53
UC users only

Crowdus, Gary.
"Dr. Strangelove." (video recording reviews) Cineaste v19, n4 (Fall, 1992):97 (2 pages).

Crowdus, Gary.
"Spartacus," and "Dr. Strangelove." (reviews) Cineaste, XIX/4, 93; p.97-98. illus.
Reviews the laser disc release of Kubrick's "Spartacus" and "Dr. Strangelove: or, How I learned to stop worrying and love the bomb"; both incl. supplemental materials such as publicity, related short films etc.

Crowdus, Gary.
"Dr. Strangelove." (video recording reviews) Cineaste v19, n4 (Fall, 1992):97 (2 pages).

Harper, James W.
"Images of Armageddon: Nuclear War in Three Mass Audience Films." In: War and Peace: Perspectives in the Nuclear Age / edited by Ulrich Goebel and Otto Nelson. pp: 25-35. Lubbock, Tex., U.S.A.: Texas Tech University Press, 1988. Series title: Studies in comparative literature (Lubbock, Tex.); no. 18.
UCB Main JX1952 .W33 1988

Henriksen, Margot A.
"Judgment day: Dr. Strangelove's cultural revolution." In: Dr. Strangelove's America: society and culture in the atomic age / Margot A. Henriksen. p. 303-44. Berkeley: University of California Press, c1997.
Moffitt E169.12.H49 1997
Compar Ethn E169.12.H49 1997

Hoberman, J.
"When Dr No Met Dr Strangelove." Sight & Sound, III/12, Dec 93; p.16-21.
Reflects on US politics in films made during the Kennedy administration, in particular "Dr. No", "The Manchurian candidate" and "Dr. Strangelove: or, How I learned to stop worrying and love the bomb"; comments on Kennedy's identification with the James Bond figure.

"Hogarth and the Strangelove Effect." (William Hogarth; film by Stanley Kubrick) Eighteenth Century Life v23, n1 (Feb, 1999):80 (16 pages).
There are significant similarities between the art of William Hogarth and a 1963 film by Stanley Kubrick. Kubrick's film 'Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb' portrayed the ironies of engaging sympathy for the heroes whose determination accidentally leads to worldwide destruction. Hogarth anticipated this Strangelove Effect in his art, depicting a contemporary conversation as a drunken riot while containing elements of joy and celebration.

Hughes, Philip.
"The Alienated and Demonic in the Films of Stanley Kubrick: Cinemanalysis with a Freudian Technophobic Argument." Journal of Evolutionary Psychology, vol. 3 no. 1-2. 1982 Apr. pp: 12-27.

Lamm, R.
"Can We Laugh at God? Apocalyptic Comedy in Film." Journal of Popular Film and Television, XIX/2, Summer 91; p.81-90. illus., bibliogr.
Defines secular and religious comedy and analyses the latter in relation to the films "It's a wonderful life", "Oh, God!", "Monty Python's Life of Brian", "Slaughterhouse-five" and "Dr. Strangelove: or, How I Learned to Stop Worrying and Love the Bomb".

Lindley, Dan
"What I learned since I stopped worrying and studied the movie: a teaching guide to Stanley Kubrick's 'Dr. Strangelove'." PS: Political Science & Politics Sept 2001 v34 i3 p663
UC users only
"A college professors discusses the use of Stanley Kubrick's film 'Dr. Strangelove' to teach students about the Cold War and nuclear deterrence strategy. Topics include how the film portrays US-Russian relations during the 1950s and 1960s, and the genesis of the movie." [Expanded Academic Index]

Maland, Charles.
"Dr. Strangelove: Nightmare Comedy and the Ideology of Liberal Consensus." American Quarterly 1979 31(5): 697-717.
"Discusses the film Dr. Strangelove as a response to the ideology of liberal consensus, which deemed American society sound and Communism a threat to the United States. This ideology contributed to the Cold War mentality and the nuclear arms race. Stanley Kubrick resolved to make a black comedy about such thinking. The film frequently links the sex drive with the war drive and lambastes anti-Communism paranoia, society's inability to realize the enormity of the nuclear threat, nuclear strategies, and the blind faith often put in technological progress. The film's importance comes from its uncharacteristic portrayal of the Cold War, since most films of the 40's and 50's were ardently supportive of the patriotic ideology." [from ABC-CLIO America: History & Life]

Maland, Charles.
"Dr. Strangelove (1964): Nightmare Comedy and the Ideology of Liberal Consensus." In: Hollywood as Historian: American Film in a Cultural Context / edited by Peter C. Rollins. pp: 190-210. Lexington, Ky.: University Press of Kentucky, c1983.
Main Stack PN1995.9.H5.H64 1983
Moffitt PN1995.9.H5.H64 1983

McCosham, Anthony
"Revel with a Cause: Liberal Satire in Postwar America." Journal of Popular Culture. Jun 2007. Vol. 40, Iss. 3; p. 568 (3 pages)
UC users only

Southern, Terry.
"Strangelove Outtake: Notes from the War Room." Grand Street v13, n1 (Summer, 1994):64 (17 pages).

Wolfe, Gary K.
"Dr. Strangelove, Red Alert and Patterns of Paranoia in the 1950's." Journal of Popular Film 1976 5(1): 57-67.
"Discusses patterns of paranoia in American thought and focuses on Stanley Kubrick's Dr. Strangelove and Peter George's 1958 novel Red Alert, which inspired it, as a representative of the 1950's fear of communism, assassination, and nuclear holocaust." [from ABC-CLIO America: History & Life]

Eyes Wide Shut

Acevedo-Munoz, Ernesto R.
"Don't Look Now: Kubrick, Schnitzler, and 'The Unbearable Agony of Desire'." Lit: Literature Interpretation Theory. 13(2):117-37. 2002 Apr-June

Alleva, Richard.
"Final Curtain: Kubrick's 'Eyes Wide Shut'." (Review) Commonweal (Sept 10, 1999):22.

Boucher, Geoff.
"The way Kubrick would have wanted it." (Stanley Kubrick's plan for marketing of film 'Eyes Wide Shut') Los Angeles Times (Mon, July 5, 1999):F1, col 5, 35 col in.

Bingham, Dennis
'Kidman, Cruise, and Kubrick: A Brechtian Pastiche." In: More than a method : trends and traditions in contemporary film performance / edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo. Detroit : Wayne State University Press, c2004.
Main Stack PN1995.9.A26.M67 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000534.html

Calhoun, John.
"Darkness on the edge of town." (Screening Room)(profile on film director Stanley Kubrick) Interiors v158, n8 (August, 1999):79 (2 pages).
UC users only
Stanley Kubrick's last film, 'Eyes Wide Shut,' is a fitting finale for a director whose work is always a source of astonishment. Kubrick, whose film credits include 'Full Metal Jacket,' 'The Killing,' '2001: A Space Odyssey,' 'Barry Lyndon' and 'A Clockwork Orange,' is known for his meticulously designed sets. Kubrick, who passed away in the spring of 1999, believes that the architecture of the set is an integral part of the entire film.

Campbell, Clayton
"Eyes Wide Shut." (motion picture review) Flash Art (International Edition) v 32 no209 Nov/Dec 1999. p. 113.
"A review of Eyes Wide Shut, directed by Stanley Kubrick. The film is marked by an endless pace, fossilized sexuality, and a hamfisted score, but the two exceptions to this disappointment are the beautiful lighting and Kubrick's laser-sharp examination of the collective drift of the modern male. He points to the collapse of male identity in Western culture as a signal reason for the "abyss of depravity" he tries to convey in the erotic scenes. The uneasy relationship between men and women is subtly, uncomfortably, and masterfully explored." [Art Abstracts]

Carnicke, S. M.
The Material Poetry of Acting: "Objects of Attention," Performance Style, and Gender in "The Shining" and "Eyes Wide Shut"." Journal of Film and Video v. 58 no. 1/2 (Spring/Summer 2006) p. 21-30
UC users only
"Close readings of a scene involving actors Shelley Duvall and Jack Nicholson in The Shining and a scene involving Tom Cruise and Nicole Kidman in Eyes Wide Shut show that the directorial strategy of Stanley Kubrick refracts conflicts between husbands and wives, and between the genders more generally, as clashes of acting styles. In their focus on a single object in their scenes, the work of Cruise and Nicholson suggests the minimalism of modernist filmmaking, and their unconventionally narrow focus therefore reads as nonrealistic. In contrast, both Duvall and Kidman use multiple objects of attention, and appear solidly embedded in the fictional worlds of their characters, a hallmark of naturalistic filmmaking. As a result, their work reads as more authentic and psychologically grounded than that of the men. Furthermore, the women's performances seem more sympathetic than those of the men precisely because they are naturalistic. In short, naturalism ironically bears a more acute feminist subversion of the narrative than the films' Brechtian elements." [Art Index]

Decter, Midge.
"The Kubrick Mystique." Commentary vol. 108 no. 2. 1999 Sept. pp: 52-55.

"'Eyes Wide Shut': ten hard truths to close the case on Kubrick's final film." (Review) Rolling Stone, n820 (Sept 2, 1999):127 (1 page).

Frey, Mattias
"Fidelio: Love, Adaptation, and Eyes Wide Shut." Literature/Film Quarterly, vol. 34, no. 1, pp. 39-45, 2006
UC users only

Gans, Herbert J.
"Kubrick's Marxist Finale." (Critical Essay) Social Policy, Fall 1999 v30 i1 p60
UC users only
"Issues discussed concern the portrayal of sex and class in Stanley Kubrick's film, 'Eyes Wide Shut.' The author reveals the similarities between Kubrick's and Karl Marx's conceptions of class, work, sexuality, and gender roles." [Expanded Academic Index]

Giavarini, Laurence
"Eyes Wide Shut." (motion picture review) Cahiers du Cinema no542 Jan 2000. p. 41-3.
"Stanley Kubrick's film Eyes Wide Shut is discussed. Kubrick's final film recounts the journey of Bill, a doctor, through a forest of fantasies. The story relates the salvation of a man who was previously unaware of the existence of passions, particularly jealousy as a manifestation of desire, to a point where he almost loses himself in the fantasies of others and discovers those who are ready to profane the couple he forms with his wife. The film contains elements that are specific to both horror films and love stories." [Art Abstracts]

Gross, Larry.
"Too late the hero." (Stanley Kubrick's 'Eyes Wide Shut') Sight and Sound v9, n9 (Sept, 1999):20 (4 pages).
"Part of a special issue on Stanley Kubrick. In Kubrick's final film, Eyes Wide Shut, the hero's erotic odyssey is supposed to provoke anxiety. A remarkably faithful adaptation of Arthur Schnitzler's turn-of-the-century novella Dream Story, it follows the dream logic of 1960s art house classics. As in Resnais' Last Year at Marienbad, Bergman's Persona, Bunuel's Belle de jour, and Antonioni's Blowup, Kubrick's film gives the uncanny impression of a story being told by a madman. Not attempting anything particularly new with this film, Kubrick is prepared to tell his audience that the things that he and other directors were preoccupied with 30 years ago are more interesting than the things cinema concerns itself with today." [Art Abstracts]

Izod, John.
"The hero as failure : Stanley Kubrick's Eyes wide shut." In: Screen, culture, psyche : a post-Jungian approach to working with the audience / John Izod. London ; New York : Routledge, 2006.
Main Stack PN1995.I97 2006
Table of contents http://www.loc.gov/catdir/toc/ecip064/2005033832.html

Jameson, Richard T. Film Comment v 35 no5 Sept/Oct 1999. p. 27-8.
"The writer reflects on watching Stanley Kubrick's Eyes Wide Shut, noting the frequency with which critics have misunderstood the director's work and drawing attention to the film's uniqueness in ending on a note of apparent affirmation." [Art Abstracts]

Johnson, Brian D.
"Stanley Kubrick's last, lingering kiss: Eyes Wide Shut is not half as shocking as it pretends to be, but its images are always arresting and indelible." (Review) Maclean's (July 26, 1999):48.
UC users only

Jones, Kent, reviewer.
"Eyes Wide Shut." (motion picture review) Cahiers du Cinema no538 Sept 1999. p. 36-9.
UC users only
"The late Stanley Kubrick's final film, Eyes Wide Shut, is reviewed. The nocturnal wanderings of Bill Harford reveal the portrait of a man whose conception of the world has been shattered by his wife's recounting her adulterous fantasies. This wild film, which is captivating and as strange as one could have expected, represents an absolutely poignant and real event: It is the last time that this monumental filmmaker will make his mark on the silver screen and it is also the last time that audiences will have the pleasure of discovering a new Kubrick film." [Art Abstracts]

Kakutani, Michiko.
"A connoisseur of cool tries to raise the temperature; Hobbesian sex: Kubrick wants to let go in 'Eyes Wide Shut,' but it all looks like hard work." (Stanley Kubrick's last film) New York Times, sec2 (Sun, July 18, 1999):AR1(N), AR1(L), col 1, 35 col in.

Kauffmann, Stanley .
"Kubrick: A Sadness." The New Republic, August 16, 1999 p30
UC users only

Klawans, Stuart.
"Long, slow buildup: Kubrick was the master." ('Eyes Wide Shut' directed by the late Stanley Kubrick)(Summer Films: Blockbusters) New York Times, sec2A (Sun, May 2, 1999):MT4(N), MT4(L), col 1, 40 col in.

Klawans, Stuart
"Old Masters." ('Eyes Wide Shut' and 'Autumn Tale') Nation v269, n5 (August 9, 1999):42.

Kreider, Tim.
"Eyes Wide Shut." (Review) (movie review) Film Quarterly v53, n3 (Spring, 2000):41.
UC users only
"The real pornography in Stanley Kubrick's Eyes Wide Shut is its depiction of the effect of shameless wealth on the human soul and society. National reviewers looking at this film took a myopic focus on sex and the shallow psychologies of the film's central couple. In doing so, they remained blind to the profoundly visual filmic world that Kubrick devoted a career's work to creating. Kubrick's films are never about individuals alone; they are invariably about civilization and human history. The world Kubrick is trying to show with Eyes Wide Shut is the capital of the American Empire at the end of the millennium. In this world, the wealthy, powerful, and privileged use the rest of humanity like throwaway products, covering up their crimes with shiny surfaces and murder and ultimately dooming their own children to servitude and whoredom." [Art Abstracts]

Kroll, Jack.
"Dreaming With 'Eyes Wide Shut': As the hype dissipates, Stanley Kubrick's final film about sex and love steps quietly into the light." (MOVIES)(Arts and Entertainment)(CE) Newsweek v134, n3 (July 19, 1999):62.
UC users only

Kroll, Jack.
"Kubrick's View; Stanley Kubrick's final intense days were spent finishing the sexy Tom Cruise and Nicole Kidman movie 'Eyes Wide Shut.'" (Obituary) Newsweek v133, n12 (March 22, 1999):66 (1 page).
UC users only

Leeman, Eve
"Dream story: a sexual and psychological journey." (Statistical Data Included) (movie reviews) The Lancet, Oct 30, 1999 v354 i9189 p1566

Lippman, John.
"Can Kubrick's 'Eyes' open wide? Hype is huge, but adult plot may not sell." (Stanley Kubrick's film 'Eyes Wide Shut') Wall Street Journal (Wed, July 14, 1999):B1(W), B1(L), col 2, 20 col in.

Loewenberg, Peter
"Freud, Schnitzler, and Eyes wide shut. In: Depth of field : Stanley Kubrick, film, and the uses of history Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Macnab, G.
"Gold leaf and shadow-play." Sight & Sound v. ns16 no. 9 (September 2006) p. 30-4
UC users only
"A discussion of how filmmakers over the years have attempted to capture the essence of fin-de-siecle Vienna. The setting of Vienna has held a keen fascination for filmmakers. Vienna is portrayed as a city of romantic splendour in such 1930s films as The Great Waltz with Fernand Gravet and Waltzes from Vienna with Jessie Matthews and Esmond Knight. Later, Carol Reed's The Third Man famously offered film audiences a dystopian view of postwar Vienna as a city preyed on by unscrupulous racketeers. More recently, Stanley Kubrick's Eyes Wide Shut relocated Arthur Schnitzler's psychological exploration of 1920s Vienna to late-1990s Manhattan. Raful Ruiz's new film Klimt, while ostensibly an account of the life of the Austrian Secessionist painter Gustav Klimt (1862-1918), is also a barbed tribute to contemporary Vienna." [Art Index]

Menand, Louis.
"Eyes Wide Shut." (Review) New York Review of Books v46, n13 (August 12, 1999):7 (2 pages).

Morel, Diane.
Eyes wide shut de Stanley Kubrick, ou, L'etrange labyrinthe Paris : Presses universitaires de France, 2002.
MAIN: PN1997.E983 M67 2002

Morgenstern, Joel.
"There's plenty of sex, but 'Eyes Wide Shut' never hits a climax; cruise is superb as jealous husband on odyssey of sexual revenge, yet tale can be dated and silly." (Review) Wall Street Journal (Fri, July 16, 1999):W1(W), W1(E), col 1, 10 col in.

Morrison, James.
"The old masters: Kubrick, Polanski, and the late style in modern cinema." Raritan: a quarterly review (21:2) 2001, 29-47. (2001)
UC users only
The article examines the apparent paradox of sensuality and social distance in the works of filmmakers Stanley Kubrick and Roman Polanski, and the emotional suffering inherent in that schism. Discussion centers on Polanski's 'The Ninth Gate' and Kubrick's 'Eyes Wide Shut.'

Odone, Cristina.
"Anglo-Saxons are infantile: they either ignore sex or reduce it to a dirty quickie. So three cheers for Kubrick!" (late motion picture director Stanley Kubrick's last film 'Eyes Wide Shut')(Column) New Statesman (1996) v128, n4445 (July 19, 1999):24 (1 page).

Peucker, Brigitte
"Kubrick and Kafka: the corporeal uncanny." Modernism/ Modernity v 8 no4 Nov 2001. p. 663-74
"The writer discusses the influence of writer Franz Kafka on filmmaker Stanley Kubrick. He suggests that the points of connection between Kubrick's The Shining and Eyes Wide Shut are mediated by Kafka, and that Kubrick thought he had found the "perfect guide" for a "realistic approach" in Kafka's writing." [Art Index]

Pizzello, Stephen.
"Beauty's Eye: Erotic Masques of the Death Drive in Eyes Wide Shut." In: Lacan and contemporary film / edited by Todd McGowan and Sheila Kunkle. New York : Other Press, c2004.
Main Stack PN1995.M379 2004
Table of contents http://www.loc.gov/catdir/toc/ecip049/2003020952.html

Pizzello, Stephen.
"A sword in a bed." American Cinematographer v 80 no10 Oct 1999. p. 28-34+.
"Cinematographer Larry Smith's work on Stanley Kubrick's film Eyes Wide Shut is discussed. For the film, Kubrick was inspired to work with existing light fixtures and a minimum of "movie lights"--a strategy he had used previously on The Shining and Barry Lyndon, the film in which Smith began his association with Kubrick. Eyes Wide Shut is framed in the standard 1.85:1 format, using primarily a set of Zeiss Superspeed T1.3 spherical prime lenses, but occasionally using Arriflex's T2.1 variable prime lenses or a zoom. The negative stock was rated faster than the actual recommended speed and force-developed two stops to bring it back to its original exposure level, giving the advantages of being able to work with less light and obtain a particular mood. A meticulous color structure is a key part of the film's visual design--a veritable rainbow of bold colors is used to underscore the emotional subtexts of various scenes." [Art Abtracts]

Pocock, Judy.
"Collaborative Dreaming: Schnitzler's Traumnovelle, Kubrick's Eyes Wide Shut, and the 'Paradox of the Ordinary'." Arachne. 7(1-2):76-93. 2000.

Preussner, Arnold W.
"Kubrick's Eyes Wide Shut as Shakespearean tragicomedy" Literature/Film Quarterly (29:4) 2001:4 , 290-296 . (2001)
UC users only
" Stanley Kubrick's 'Eyes Wide Shut' may be seen as having several similarities to William Shakespeare's late romantic comedies. Although the Shakespearean pattern of transgression, suffering, repentance and forgiveness is not strictly followed by Kubrick, his romance is based in sexual jealousy that is arguably overcome by luck, timing, and intelligence." [Expanded Academic Index]

Raphael, Frederic.
"A Kubrick odyssey: the director's last screenwriter recounts his labyrinthine adventure on 'Eyes Wide Shut.'" (the late film director Stanley Kubrick) New Yorker v75, n15 (June 14, 1999):40 (8 pages)

Saada, Nicolas; Toubiana, Serge
"Eyes Wide Shut." (motion picture review) Cahiers du Cinema no538 Sept 1999. p. 30-5.
"A review of Eyes Wide Shut, Stanley Kubrick's last film. An adaptation of a short story by Arthur Schnitzler, the film centers on Doctor William Harford and his wife Alice. After a party at a friend's house, Alice evokes her fantasies about a man she saw during a trip to Cape Cod, a scene that serves as a catalyst for Bill's nocturnal wanderings, which lead him into a labyrinth of unreal and disturbing situations, including a mysterious orgy. The most human, amusing, disturbing, and simultaneously light and serious of all Kubrick's films, Eyes Wide Shut is simply a great film." [Art Abstracts]

Skidelsky, Edward.
"Eyes wide shut." (Sigmund Freud and Stanley Kubrick) New Statesman (1996) v129, n4469 (Jan 17, 2000):53.
UC users only

Stavans, Ilan
"Arthur Schnitzler and Stanley Kubrick." In: The inveterate dreamer: essays and conversations on Jewish culture / Ilan Stavans. Lincoln, NE: University of Nebraska Press, c2001. Texts and contexts (Unnumbered)
Main Stack DS113.S73 2001

Taubin, Amy
"Imperfect Love: Eyes Wide Shut" (motion picture review) Film Comment v 35 no5 Sept/Oct 1999. p. 24-6+.
UC users only
"Although memorable, Stanley Kubrick's final film, Eyes Wide Shut, is a mess. The film is adapted from Arthur Sc dreams involving other people. The film is built around the body of a woman and the lack of desire that a man feels in its presence. It is always open to multiple interpretations, and it oscillates between dream and reality, subjectivity and objectivity, and diegetic and nondiegetic truth. The narrative may or may not contain an elaborate tissue of lies, and these lies may extend outside the narrative to the issue of how much of the film was completed by Kubrick. Signs that the film was not finished when the director died are examined." [Art Abstracts]

Thomson, David
"Eyes Wide Shut." In: Nicole Kidman / David Thomson. 1st ed. New York : Knopf, 2006.
Main Stack PN3018.K53.T56 2006

Vaughan, Hunter
"Eyes Wide Shut: Kino-Eye Wide Open." Film Journal, vol. 1, no. 8, pp. [no pagination], February 2004

Weinraub, Bernard.
"All eyes for a peek at Kubrick's final film." (deceased filmmaker Stanley Kubrick's last film 'Eyes Wide Shut')(Living Arts Pages) New York Times (Wed, March 10, 1999):E1(L), col 5, 22 col in

Weinraub, Bernard.
"Deliver the goods." (Eyes Wide Shut by Stanley Kubrick ) New York Times (Fri, March 12, 1999):E10(L), col 1, 14 col in.

Whitehouse, Charles.
"Eyes Wide Shut." (Review) (movie reviews) Sight and Sound v9, n9 (Sept, 1999):38 (3 pages)
" Kubrick's last film tells the story of a man so jealous of a phantom, a naval officer his wife confesses she was once passingly captivated by, that he cannot return home until he has committed some sort of sexual revenge. Surprisingly staid, the most shocking aspect of the film is not its long-anticipated sex scenes but its fidelity to its literary source, Arthur Schnitzler's Dream Story." [Art Abstracts]

Whitinger, Raleigh; Ingram, Susan
"Schnitzler, Kubrick, and "Fidelio"." Mosaic : a Journal for the Interdisciplinary Study of Literature. Sep 2003. Vol. 36, Iss. 3; p. 55
UC users only

Williamson, Patricia
"La petite mort: sex equated to death Stanley Kubrick's Eyes Wide Shut." Journal of Evolutionary Psychology August 2001 p165(7)

Wolff, Michael.
"Eyes Wide Shut." (analysis of the 1999 summer box office) New York v32, n35 (Sept 13, 1999):38 (3 pages).

Full Metal Jacket

Castle, Robert
"Animal Mother in Full Metal Jacket: Don't Follow Leaders;" Bright Lights Film Journal, vol. 45, pp. (no pagination), August 2004

Castle, Robert; Donatelli, Stephen.
"Kubrick's ulterior war." (director Stanley Kubrick's movie "Full Metal Jacket" tries to capture confusion of war) Film Comment v34, n5 (Sept-Oct, 1998):24 (4 pages).
UC users only
"In Full Metal Jacket, Stanley Kubrick holds up a fragmented image of war. The war zone is truly a construct, and the clinical sets seem like amplifications of the film's opening images during which recruits are shaved bald and shorn of any recognizable distinctiveness. Divested of its conventional framework, the film stands square and makes no attempt to pretend that war is communicable. The writers examine how Kubrick made such a film, how its effects reveal his frustration with the cinematic vehicle, and how that frustration symbolizes the way people react to wars." [Art Abstracts]

Cooper, Marc.
"Light at the end of the tunnel." American Film v 12 June 1987. p. 11+.

Doherty, Thomas.
"Full Metal Genre: Stanley Kubrick's Vietnam Combat Movie." Film Quarterly v42, n2 (Winter, 1988):24 (7 pages).
UC users only

Gates, Philippa.
"Fighting the Good Fight:" The Real and the Moral in the Contemporary Hollywood Combat Film." Quarterly Review of Film & Video, Oct-Dec2005, Vol. 22 Issue 4, p297-310, 14p
UC users only

Gibbons,-William-H., reviewer.
"Full Metal Jacket" (motion picture review) Films in Review v 38 Dec 1987. p. 611-12.

Gilliatt, Penelope.
"Heavy metal." American Film v 12 Sept 1987. p. 20-3+.

Gruben, Patricia
"Practical Joker: The Invention of a Protagonist in Full Metal Jacket." Literature/Film Quarterly, vol. 33, no. 4, pp. 270-79, 2005
UC users only

Kael, Pauline.
"Ponderoso." New Yorker 7/13/87, Vol. 63 Issue 21, p75-77, 3p

Klein, Michael.
"Historical Memory, Film, and the Vietnam Era." In: From Hanoi to Hollywood: The Vietnam War in American Film edited by Linda Dittmar and Gene Michaud. pp: 19-40. New Brunswick: Rutgers University Press, c1990.
MAIN:Main Stack DS557.73.F76 1990
MAIN:Moffitt DS557.73.F76 1990

Krohn, Bill, reviewer.
"Full Metal Jacket." (motion picture review) Cahiers du Cinema no400 Oct 1987. p. 8-12.

Magid, Ron.
"Full Metal Jacket: cynic's choice." American Cinematographer v 68 Sept 1987. p. 74-84.

Moore, Janet C.
"For Fighting and for Fun: Kubrick's Complicitous Critique in Full Metal Jacket." The Velvet Light Trap, vol. 31. 1993 Spring. pp: 39-47.

Morag, Raya.
"'Life-Taker Heart-Breaker': Mask-ulinity and/or Femininity in Full Metal." In: The seeing century: film, vision and identity / edited by Wendy Everett. pp: 186-97 Amsterdam; Atlanta: Rodopi, 2000. Critical studies (Amsterdam, Netherlands); v.14.
Main Stack PN1995.25.S44 2000

Perusek, Glenn
"Kubrick's armies : strategy, hierarchy, and motive in the war films of Stanley Kubrick." In: Depth of field : Stanley Kubrick, film, and the uses of history Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Pursell, Michael.
"Full Metal Jacket: The Unravelling of Patriarchy. Literature/ Film Quarterly, vol. 16 no. 4. 1988. pp: 218-225.
UC users only

Rafferty, Terrence
"Full Metal Jacket" (motion picture review) Sight and Sound v 56 Autumn 1987. p. 256-9.

Rambuss, Richard.
"After Male Sex. South Atlantic Quarterly, Summer2007, Vol. 106 Issue 3, p577-588, 12p
UC users only

Rambuss, Richard.
"Machinehead." (the technology of killing in Stanley Kubrick's 'Full Metal Jacket')(Critical Essay) Camera Obscura v14, n42 (Sept, 1999):97.
UC users only
"Issues of masculinity in Stanely Kubrick's 1987 Vietnam War movie, Full Metal Jacket, are discussed. In a dual narrative, the film focuses on the marines' training at boot camp and their experiences on the battlefield. Well before the narrative arrives at the battlefield, it depicts the Marines as "indestructible" killing machines whose bodies are hard but also vulnerable. Then the action moves rapidly to pare down the war into a protracted microconfrontation in Hue City, where a sole Vietcong sniper, who turns out to be a girl staked out in the ruins of a bombed building, efficiently picks apart and almost decimates an entire Marine squad. This depiction of the Marine machine as disordered and almost overtaxed in this encounter, suggests that the film is proffered as a gendered exposure and critique of the system that is its subject. From frame to frame and from tableaux to tableaux, the film is an arrestingly beautiful rendering of effects of fascination, desire, and even beauty that exist as a quality of the mechanicistic rather than in contradistinction to it." [Art Abstracts]

Reaves, Gerri.
"From Hasford's The Short-Timers to Kubrick's Full Metal Jacket." Literature/ Film Quarterly, vol. 16 no. 4. 1988. pp: 232-237.
UC users only

Schweitzer, Rich.
"Born To Kill: S. Kubrick's Full Metal Jacket As Historical Representation Of America's Experience In Vietnam." Film & History 1990 20(3): 62-70.

Sharrett,-Christopher, reviewer.
"Full Metal Jacket" (motion picture review) Cineaste v 16 no1/2 1988. p. 64-5.

Shute, Jenefer P.
"Full Metal Jacket." (movie reviews) Tikkun v4, n2 (March-April, 1989):83 (3 pages).

Smith, Claude J., Jr.
"Full Metal Jacket: The Beast Within." Literature/ Film Quarterly, vol. 16 no. 4. 1988. pp: 226-231.
UC users only

Stevens, Brad.
"'Is That You John Wayne? Is This Me?': Problems of Identity in Stanley Kubrick's Full Metal Jacket." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 21:(no pagination). 2002 July-Aug
UC users only

Stevenson, James A.
"Beyond Stephen Crane: Full Metal Jacket." Literature/ Film Quarterly, vol. 16 no. 4. 1988. pp: 238-243.
UC users only

Stevenson, James.
"Full Metal Jacket." (movie reviews) Humanist v48, n2 (March-April, 1988):43 (2 pages).
UC users only

Szamuely, George.
"Hollywood goes to Vietnam." (movies about the Vietnamese conflict) Commentary v85, n1 (Jan, 1988):48 (6 pages).

Virilio, Paul
"Full Metal Jacket." (movie reviews) Cahiers du Cinema no401 Nov 1987. p. 29-30.

White, Susan.
"Male Bonding, Hollywood Orientalism, and the Repression of the Feminine in Kubrick's Full Metal Jacket." Arizona Quarterly, vol. 44 no. 3. 1988 Autumn. pp: 120-144.

Willoquet-Maricondi, Paula.
"Full-Metal-Jacketing: Or, Masculinity in the Making." Cinema Journal, vol. 33 no. 2. 1994 Winter. pp: 5-21.
"The writer discusses Stanley Kubrick's film Full Metal Jacket. She suggests that the film focuses on a particular aspect of American culture: the creation of the American man and war hero. The writer observes that Kubrick explores the reasons behind American involvement in Vietnam by focusing primarily on the cultural conditioning of the men who fought in the war. Kubrick, she notes, reveals the profound analogies between the making of a marine and the making of masculinity in general; the standards for manhood promulgated by the military permeate society entirely and are broadcast by its institutions. She argues that Kubrick criticizes the entire process of masculinization by demonstrating that it involves not only the defeat of the "other" (female or otherwise) but, more basically, the defeat of the very self." [Art Abstracts]

The Killing

Cossar, Harper
"The Revenge of the Repressed: Homosexuality as Other in The Killing." Quarterly Review of Film and Video, vol. 22, no. 2, pp. 145-54, Spring 2005
UC users only
"Part of a special cultural studies issue of the Quarterly Review of Film and Video. An analysis of homosexuality in Stanley Kubrick's film The Killing (1956) in light of Robin Wood's concept of the Monster. Writing about horror films, Woods illuminates the concept of the repressed Other via the Monster, which "represents forms of sexuality which are inimical to the status quo." The sexual tension at work in The Killing is plainly revealed on the screen: None of the men recruited for a heist by the main character has a successful relationship with women. Indeed, it can be postulated that the desire to be with other men to commit illegal acts is only a displacement of the desire to be able to pursue their male-male relationships. The Killing further restructures the sexual composition of film noir because its violence and fatalistic outcome result from the characters not acting on their homosexual desires." [Art Index]

Darke, Chris and Tunney, Tom
"The Kubrick Connection." Sight & Sound, V/11, Nov 95; p.22-25,55. Pierre-William Glenn discusses "The killing" as a model of film noir and how he used it in the preparation of his own film "23h58".

Thomson, David
"Follow the Money." Film Comment, XXXI/4, July-Aug 95; p.20-25. illus.
On the role of money as a theme, a narrative device and a symbol in films such as "The last seduction", "Point blank", "The Brink's Job", "The Killing", "Indecent Proposal".

Telotte, J.P.
"Fatal Capers. Strategy and Enigma in Film Noir."Journal of Popular Film and Television, XXIII/4, Winter 96; p.163-170. Studies classic and recent noir 'caper' films, gauging changes and persistence in the genre. Focuses on "Reservoir Dogs", "The Killers", "Criss Cross", "The Asphalt jungle" and "The Killing".

Lolita

Bick, Ilsa J. and Gabbard, K.
"'That Hurts!: Humor and Sadomasochism in Lolita./ The Circulation of Sadomasochistic Desire in the Lolita Texts." Journal of Film and Video, XLVI/2, Summer 94; p.3-30.
Two articles exploring the sadomasochistic elements in film and book of 'Lolita', esp. in the use of humour; ignores Nabokov's frequent dismissals of Freudian theory and provides a psychoanalytical reading of the work.

Burns, Dan E.
"Pistols and Cherry Pies: Lolita from Page to Screen." Literature/ Film Quarterly, vol. 12 no. 4. 1984. pp: 245-250.
On "Lolita" as a successful film which challenges our assumptions about cinematic adaptation.
UC users only

Combs, Richard
"Vivian Darkbloom in the Cinema." Monthly Film Bulletin, XLV/535, Aug 78; p.167-168.
On the films based on Nabokov's novels, esp. "Despair" and "Lolita".

Corliss, Richard.
"Lolita: From Lyon to Lyne." (editing of director Adrian Lyne's film "Lolita" shows sexual double standard) Film Comment v34, n5 (Sept-Oct, 1998):34 (6 pages).

Pifer, Ellen.
"Reinventing Nabokov: Lyne and Kubrick." In: Nabokov at Cornell / edited by Gavriel Shapiro. pp: 68-77. Ithaca : Cornell University Press, 2003.
Morrison Rm PG3476.N3.Z777 2003

Santas, Constantine.
"Lolita: From Nabokov's Novel to Kubrick's Film to Lyne's." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema,

Schrader, Paul
"Lolita." (Script extract). American Film, XV/1, Oct 89; p.18-20,22.
Brief appreciation of Stanley Kubrick's script introduces an extract from the film's dialogue continuity.

Watts, Sarah Miles
"Lolita: Fiction into films without fantasy" Literature/Film Quarterly (29:4) 2001:4 , 297-302 . (2001)
UC users only
" Neither Stanley Kubrick's 1962 nor Adrian Lyne's 1998 adaptations of Vladimir Nabokov's 'Lolita' adequately translated the novel's language, leaving motion picture audiences with little beyond pedophilia. Nabokov offered a psychopathic central character moved to lyricism, yet Kubrick presented a sinister seducer and Lyne a hero haunted by perversity." [Expanded Academic Index]

Panic in the Streets

Danks, Adrian
"Panic in the Streets." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 2, pp. (no pagination), Winter 2000
UC users only

Stern, Alexandra Minna, and Howard Markel.
"The Public health service and film noir: a look back at Elia Kazan's Panic in the Streets (1950). (Viewpoint)." Public Health Reports 118.3 (May-June 2003): 178(6).

Paths of Glory

Bier, Jesse.
"Cobb and Kubrick: Author and Auteur" (Paths of Glory as Novel and Film) Virginia Quarterly Review, vol. 61 no. 3. 1985 Summer. pp: 453-471.

Burgess, Jackson
"The "Anti-Militarism" of Stanley Kubrick." Film Quarterly, Vol. 18, No. 1 (Autumn, 1964), pp. 4-11
UC users only

Combs, Richard
"Paths of Glory." (Review). Monthly Film Bulletin, LI/607, Aug 84; p.256-257.

Kelly, Andrew.
"The Brutality of Military Incompetence: 'Paths of Glory' (1957)" (Stanley Kubrick's film) Historical Journal of Film, Radio and Television v13, n2 (June, 1993):215 (13 pages).
"Stanley Kubrick's quintessential antiwar film, Paths of Glory (1957), focuses on the French military hierarchy during World War I. The author compares the American film to the Humphrey Cobb novel on which it is based, outlines the history of the film's production and critical reception, and describes the controversy its release created, particularly in Europe." [from ABC-CLIO America: History & Life]

Kelly, Andrew.
"Paths of Glory." (movie reviews) Historical Journal of Film, Radio and Television v13, n2 (June, 1993):215 (13 pages).

Young, Colin
"Madness, All Madness!" Film Quarterly, Vol. 12, No. 1 (Autumn, 1958), pp. 45-50
UC users only

The Shining

Anderson, Pat & Wells,J.
"The Shining: Two Views. Films in Review, XXXI/7, Aug-Sept 80; p.438-439.

Brown, G.
"Steadicam and The shining." American Cinematographer v. 61 (August 1980) p. 786-9+

Brown, John.
"The Impossible Object: Reflections on The Shining." In: Cinema and Fiction: New Modes of Adapting, 1950-90 / edited by John Orr and Colin Nicholson. pp: 104-21. Edinburgh: Edinburgh University Press, c1992.
Main Stack PN1995.3.C56 1992

Bunnell, Charlene.
"The Gothic: A Literary Genre's Transition to Film." In: Planks of Reason: Essays on the Horror Film / edited by Barry Keith Grant. pp: 79-100. Metuchen, N.J.: Scarecrow Press, 1984.
UCB Main PN1995.9.H6 P56 1984
Moffitt PN1995.9.H6 P56 1984

Caldwell, Larry W.
"'Come and Play with Us': The Play Metaphor in Kubrick's Shining." Literature/ Film Quarterly, vol. 14 no. 2. 1986. pp: 106-111.
On the cohesive theme of play in "The Shining".

Carnicke, S. M.
The Material Poetry of Acting: "Objects of Attention," Performance Style, and Gender in "The Shining" and "Eyes Wide Shut"." Journal of Film and Video v. 58 no. 1/2 (Spring/Summer 2006) p. 21-30
"Close readings of a scene involving actors Shelley Duvall and Jack Nicholson in The Shining and a scene involving Tom Cruise and Nicole Kidman in Eyes Wide Shut show that the directorial strategy of Stanley Kubrick refracts conflicts between husbands and wives, and between the genders more generally, as clashes of acting styles. In their focus on a single object in their scenes, the work of Cruise and Nicholson suggests the minimalism of modernist filmmaking, and their unconventionally narrow focus therefore reads as nonrealistic. In contrast, both Duvall and Kidman use multiple objects of attention, and appear solidly embedded in the fictional worlds of their characters, a hallmark of naturalistic filmmaking. As a result, their work reads as more authentic and psychologically grounded than that of the men. Furthermore, the women's performances seem more sympathetic than those of the men precisely because they are naturalistic. In short, naturalism ironically bears a more acute feminist subversion of the narrative than the films' Brechtian elements." [Art Index]

Cocks, Geoffrey.
"Death by typewriter : Stanley Kubrick, the Holocaust, and The shining." In: Depth of field : Stanley Kubrick, film, and the uses of history Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Cocks, Geoffrey.
"The Hinting: Holocaust Imagery In Kubrick's The Shining." Psychohistory Review 1987 16(1): 115-136.
"The genocide committed against the Jews by the Nazis during World War II "serves . . . as the veiled benchmark of evil" in Stanley Kubrick's movie The Shining (1980). Although the reclusive director has not confirmed the existence of any indirect references to the Holocaust in the film, such references are not inconsistent with his other work. This article analyzes the Kubrick corpus in terms of Freudian categories, Nazi policies toward the Jews, and the artistic tradition of the grotesque." [from ABC-CLIO America: History & Life]

Combs, Richard
"The Shining." (Review) Monthly Film Bulletin, XLVII/562, Nov 80; p.221-222.

Cook, David A.
"American Horror: The Shining." Literature/ Film Quarterly, vol. 12 no. 1. 1984. pp: 2-4.
UC users only

Hoile, Christopher.
"The Uncanny and the Fairy Tale in Kubrick's The Shining." Literature/ Film Quarterly, vol. 12 no. 1. 1984. pp: 5-12.
UC users only
On the influence of Freud and Bruno Bettelheim on Kubrick's sense of the uncanny in "The Shining".

Jameson, Richard T.
"Kubrick's Shining." Film Comment, XVI/4, July-Aug 80; p.28-32.

Jameson, Richard T.
"The Shining." Social Text No. 4 (Autumn, 1981), pp. 114-125 XVI/4, July-Aug 80; p.28-32.
UC users only

Jameson, Richard T.
"Kubrick's Shining." Film Comment v. 16 (July/August 1980) p. 28-32

Johnson, Diane
" Writing The shining." In: Depth of field : Stanley Kubrick, film, and the uses of history Edited by Geoffrey Cocks, James Diedrick, and Glenn Perusek. Madison, Wis. : University of Wisconsin Press, c2006.
MAIN: PN1998.3.K83 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005022821.html

Keeler, Greg.
"The Shining: Ted Kramer Has a Nightmare." Journal of Popular Film and Television, vol. 8 no. 4. 1981 Winter. pp: 2-8.

Kennedy, Harlan
"Kubrick Goes Gothic." American Film, V/8, June 80; p.49-52.

Kilker, Robert
"All Roads Lead to the Abject: The Monstrous Feminine and Gender Boundaries in Stanley Kubrick's The Shining." Literature/Film Quarterly, vol. 34, no. 1, pp. 54-63, 2006
UC users only

"Kubrick, l'homme du controle absolu." Cahiers du Cinema no534 Apr 1999. p. 20-37.
"A special section on filmmaker Stanley Kubrick. An interview with Diane Johnson, who cowrote the screenplay for The Shining with Kubrick, accompanies articles that discuss Kubrick's oeuvre in general, his style as a director, and the expressiveness of his films." [Art Abstracts]

Liebowitz, F. and Jeffress, L.
"The Shining." (film review) Film Quarterly, XXXIV/3, Spring 81; p.43-51.

Lightman, H.A. and Garrett Brown
"The Shining." (Interview+Article). American Cinematographer,LXI/8, Aug 80; p.780-789+
John Alcott, director of photography, discusses filming; G.B. describes the advantages of the Steadicam.

Macklin, T.
"Understanding Kubrick: The Shining." Journal of Popular Film and Television, IX/2, Summer 81; p.93-95.

Magistrale, Tony.
"Kubrickian terrors." In: Abject terrors : surveying the modern and postmodern horror film / Tony Magistrale. New York : Peter Lang, c2005.
Main Stack PN1995.9.H6.M248 2005
Moffitt PN1995.9.H6.M248 2005

Mamber, S.
"Parody, Intertextuality, Signature: Kubrick, DePalma, and Scorsese." Quarterly Review of Film and Video, XII/1-2, May 90; p.29-35.
Draws on three publications studying postmodernist metafiction - 'Parody/meta-fiction' (Margaret Rose), 'Metafiction' (Patricia Waugh) and 'A theory of parody' (Linda Hutcheon) - to underline the theme of parody running through Kubrick's "The Shining", De Palma's "Body Double" and Scorsese's "The King of Comedy".

Manchel, Frank.
"What About Jack? Another Perspective on Family Relationships in Stanley Kubrick's The Shining." Literature/ Film Quarterly, vol. 23 no. 1. 1995. pp: 68-78.
UC users only

Mayersberg, Paul
"The Overlook Hotel." Sight & Sound, Winter 80/81; p.54-57.

Metz, Walter.
"Toward a Post-structural Influence in Film Genre Studies: Intertextuality and 'The Shining.'" Film Criticism v22, n1 (Fall, 1997):38 (24 pages).
UC users only
" Part of a special issue on film genres. Adopting a poststructuralist approach, the writer conducts an intertextual analysis of Stanley Kubrick's film The Shining. He explains his interest in how the film's generic status as a horror opens up two stable choices for the interpretation of its goals: fans of Stephen King, the author of the book of the film, expect a generically stable horror film, while academic critics see it as a melodrama about the disintegration of a middle-class American family. He presents a poststructuralist reading strategy whereby, rather than arguing over films' generic make-up, critics examine how the perception of a film's genre influences the interpretation of the text; this strategy is significant for the way in which it illuminates competing political identity issues such as gender and race within the genre film. He goes on to show how, in The Shining, the genre functions of horror and melodrama, in order to make sense of a politically polysemous and perhaps contradictory text, serve as unifying fictions for two sets of interpretive communities." [Art Abstracts]

Miers, Paul
"The Black Maria Rides Again: Being a Reflection on the Present State of American Film with Special Respect to Stanley Kubrick's The Shining." MLN, Vol. 95, No. 5, Comparative Literature (Dec., 1980), pp. 1360-1366
UC users only

Pearce, Howard D.
"The Shining as Lichtung: Kubrick's Film, Heidegger's Clearing." In: Forms of the Fantastic: Selected essays from the Third International Conference on the Fantastic in Literature and Film / edited by Jan Hokenson and Howard Pearce. pp: 49-57. Westport, Conn.: Greenwood Press, 1986. Series title: Contributions to the study of science fiction and fantasy no. 20.
UCB Main NX650.F36 I581 1982

Romney, Jonathan.
"Resident phantoms: Stanley Kubrick 1928-99." Sight and Sound v9, n9 (Sept, 1999):8 (4 pages).
'The Shining' is thought to be director Stanley Kubrick's most notable motion picture in the latter part of his career. The film stars Jack Nicholson as Jack Torrance, the winter caretaker of the Overlook Hotel, and Shelley Duvall as his wife Wendy. The role of the written word in the movie is analysed, along with an overview of other themes thought to be central to Kubrick's oeuvre.

Rowe, K.K.
"Class and Allegory in Jameson's Film Criticism." Quarterly Review of Film and Video, XII/4, Sept 91; p.1-18. bibliogr.
Reconsideration of US critic Fredric Jameson's position as postmodernist commentator on contemporary popular culture, focusing on the theories of class and allegorical representation in "The Shining", "Dog Day Afternoon" and "Diva".

Saada, Nicolas.
"The shining, une histoire de famille: entretien avec Diane Johnson, scenariste." Cahiers du Cinema no534 Apr 1999. p. 34-7.
"Part of a special section on filmmaker Stanley Kubrick. An interview with novelist and scriptwriter Diane Johnson, who cowrote the screenplay for The Shining with Stanley Kubrick. Topics discussed include Johnson's initial surprise at Kubrick's interest in Stephen King's novel, their daily work habits, her contribution of gothic elements to the screenplay, and Kubrick's relationships with his principal actors during filming." [Art Abstracts]

Smith, Greg.
""Real Horrorshow": The Juxtaposition of Subtext, Satire, and Audience Implication in Stanley Kubrick's "The Shining."" Literature-Film Quarterly v25, n4 (Oct, 1997):300 (7 pages).
UC users only
Stanley Kubrick's "The Shining" is grossly underrated by critics and is perhaps his most underappreciated film. The multifaceted horror presented in this film exhibits tension not only on a surface level, but exposes racial and sexist stereotypes while incorporating satirical political commentary. The horror of this film is its reflection of its American audience.

Snyder, S.
"Family Life and Leisure Culture in "The Shining"". Film Criticism, VII/1, Fall 82; p.4-13.

Titterington, P.L.
"Kubrick and The Shining." Sight & Sound, L/2, Spring 81; p.117-121. illus.
Discusses the evolution of Kubrick's style and the language of his ideas.

Walters, C. T.
"Stanley Kubrick's The Shining: A Study in the Terror of Abstraction." Ball State University Forum, vol. 26 no. 3. 1985 Summer. pp: 21-38.

Spartacus

Cohen, Clelia
"Spartacus de Stanley Kubrick." Cahiers du Cinema hors/serie Dec 2001. p. 65-6
"Part of a special issue reviewing movies reissued on DVD. A review of the DVD version of Stanley Kubrick's Spartacus (1960). This DVD is like a school solely devoted to Spatacus studies, a place where it is possible to see such things as Kubrick's sketches for the last scene, the film's storyboard, extracts from the comic strip that inspired the film, publicity posters, commentaries by the major protagonists, and a film made during the McCarthy era on the famous "Hollywood Ten" (which included Spartacus screenwriter Dalton Trumbo). It is also like a history of cinema itself as the viewer learns how a film superimposes layer upon layer of know-how, research, personalities, and frustrations." [Art Index]

Combs, Richard
"Spartacus." (Review). Monthly Film Bulletin, LI/607, Aug 84; p.257-259.

Cook, Page
"The Sound Track."Films in Review, XXXVI/6-7, June-July 85; p.378-381.
Of Alex North's score for "Spartacus" and other films.

Cooper, Duncan.
"Dalton Trumbo vs. Stanley Kubrick." Cineaste, vol. 18 no. 3. 1991. pp: 34-37.

Cooper, Duncan.
"Spartacus: An Exclusive Report." Cineaste, vol. 18 no. 3. 1991. pp: 18-37.

Cooper, Duncan.
"Spartacus: Still Censored After All These Years." (Letter). Cineaste, XX/4, 94; p.4,61.
Extract from a research document by Duncan Cooper based on follow-up to his article in XVIII/3; reveals evidence of Universal Studios' politically motivated cuts.

Cooper, Duncan.
"Who Killed Spartacus?" Cineaste, vol. 18 no. 3. 1991. pp: 18-27.
In four articles, discusses the production and restoration of "Spartacus", contrasting screenwriter D.T.'s vision with the finished production; incl. interview with Robert A. Harris on restoring the film and reprints part of Trumbo's original critique of the rough cut; also discusses Trumpo's and Kubrick's disagreements concerning their conceptions of Spartacus and of histories written about the character by Howard Fast and Arthur Koestler.

Crowdus, Gary.
"Resurrecting Spartacus: An Interview with Robert Harris." Cineaste, vol. 18 no. 3. 1991. pp: 28-29.

Crowdus, Gary.
"Spartacus." (video recording reviews) Cineaste v19, n4 (Fall, 1992):97 (2 pages).

Davis, Natalie Zemon
Slaves on screen: film and historical vision / Natalie Zemon Davis. Cambridge, Mass.: Harvard University Press, 2000.
Main Stack PN1995.9.S557.D38 2000

Davis, Natalie Zemon.
"Trumbo and Kubrick Argue History." Raritan-A Quarterly Review. 22(1):173-90. 2002 Summer
UC users only
Davis discusses Dalton Trumbo and Stanley Kubrick's collaboration on the film "Spartacus." Trumbo and Kubrick had disagreements about the historical meaning and possibilities of the Spartacus uprising.

Denby, David.
"Spartacus." (movie reviews) New York v24, n19 (May 13, 1991):95 (2 pages).

Hark, Ina Rae.
"Animals or Romans: Looking at Masculinity in Spartacus." In: Screening the Male: Exploring Masculinities in Hollywood Cinema / edited by Steven Cohan and Ina Rae Hark. pp: 151-72. London; New York: Routledge, c1993.
Main Stack PN1995.9.M46.S36 1993
Moffitt PN1995.9.M46.S36 1993

Hoffman, Carl
"The evolution of a gladiator: History, representation, and revision in Spartacus." Journal of American & Comparative Cultures Spring 2000 v23 i1 p63(8)
UC users only

Sheehan, Henry.
"Roman Games." (director Stanley Kubrick and the film, 'Spartacus') Sight and Sound v1, n4 (August, 1991):22 (4 pages).
How much of Kubrick is in "Spartacus" which originated with others, had a powerful star and a politically committed screenwriter?

Sheehan, Henry.
"The Fall & Rise of Spartacus." Film Comment, XXVII/2, Mar-Apr 91; p.57-58,60,63.
Reports on the restoration of the film.

Smith, Jeffrey P.
"'A Good Business Proposition: Dalton Trumbo, Spartacus, and the End of the Blacklist." The Velvet Light Trap, vol. 23. 1989 Spring. pp: 75-100.
Universal's screen credit for Dalton Trumbo as scriptwriter of "Spartacus" was the first official defiance of longstanding obedience to the blacklist.

"Spartacus: an exclusive report."
Cineaste v 18 no3 1991. p. 18-37.

Thompson, Frank
"Spartacus: A Spectacle Revisited." American Cinematographer, LXXII/5, May 91; p.35-40.
Account of the original production and recent restoration.

Thompson, Frank
"The Gladiator's Cut." American Film, XVI/3, Mar 91; p.39.
Reports on the restored version of "Spartacus".

Travers, Peter.
"Spartacus." (movie reviews) Rolling Stone, n604 (May 16, 1991):118 (2 pages).

Trumbo, Dalton.
"Report on Spartacus." Cineaste, vol. 18 no. 3. 1991. pp: 30-33.

Spartacus : film and history
Edited by Martin M. Winkler. Malden, MA, USA : Blackwell Pub., 2007.
Main Stack PN1997.S6425.S63 2007
Contents: Who killed the legend of Spartacus? production, censorship, and reconstruction of Stanley Kubrick's epic film / Duncan L. Cooper -- Dalton Trumbo vs. Stanley Kubrick: the historical meaning of Spartacus / Duncan L. Cooper -- Spartacus, Exodus, and Dalton Trumbo: managing ideologies of war / Frederick Ahl -- Spartacus: history and histrionics / Allen M. Ward -- Spartacus, rebel against Rome / C.A. Robinson -- Training + tactics = Roman battle success: from Spartacus: the illustrated story of the motion picture production -- The character of Marcus Licinius Crassus / W. Jeffrey Tatum -- Roman slavery and the class divide: why Spartacus lost / Michael Parenti -- The holy cause of freedom: American ideals in Spartacus / Martin M. Winkler -- Spartacus and the Stoic idea of death / Francisco Javier Tovar Paz -- "Culturally significant and not just simple entertainment": history and the marketing of Spartacus / Martin M. Winker.

2001: A Space Odyssey

Books and Articles

Agel, Jerome.
The Making of Kubrick's 2001. [New York] New American Library [1970]. Series title: Signet film series.
UCB Main PN1997.T88 A24
UCB Moffitt PN1997.T86 .A3

Adler, Renata.
A Year in the Dark; Journal of a Film Critic, 1968-69. pp: 102-4. New York, Random House [1969].
MAIN: PN1995 .A26

Balmain, Colette.
"Temporal Reconfigurations in Kubrick's 2001." Enculturation: Cultural Theories & Rhetorics. 3(1):(no pagination). 2000 Fall.

Boyd, D.
"Mode and Meaning in 2001." Journal of Popular Film and Television, VI/3, 1978; p.202-15.
A probing look at the meaning and symbolism in Nubrick's film.
UC users only

Booker, M. Keith.
"2001: A Space Odyssey." In: Alternate Americas : science fiction film and American culture / M. Keith Booker. Westport, Conn. : Praeger, 2006.
Main Stack PN1995.9.S26.B56 2006

Boylan, Jay H.
"Hal in '2001: A Space Odyssey': The Lover Sings His Song." Journal of Popular Culture, vol. 18 no. 4. 1985 Spring. pp: 53-56.
UC users only

Bizony, Piers.
"2001 at 25." Omni v15, n7 (May, 1993):42 (6 pages).
Filmmaker Stanley Kubrick released a $11 million movie in 1968 based on a novel by Arthur C. Clarke, and it became a revolutionary science fiction work. The movie exhibited technical brilliance and had a lofty, philosophical message.

Boylan, Jay H.
"Hal in '2001: A Space Odyssey': The Lover Sings His Song." Journal of Popular Culture, vol. 18 no. 4. 1985 Spring. pp: 53-56.

Brown, Peter G.
"2001: Reel to Real." (Brief Article) Sciences v41, n1 (Jan, 2001):2.

Burgoyne, Robert
"Narrative Overture and Closure in "2001, A Space Odyssey". Enclitic, V/2, Fall-Spring 81-82; p.172-180.
Exam