Stanley Kubrick
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2001: A Space Odyssey
A Clockwork Orange
A01=Elisa Pezzotta
Anthony Burgess
art-film
Arthur C. Clarke
auteur
Author_Elisa Pezzotta
Barry Lyndon
Category=ATFA
Category=ATFB
Cinematic Adaptation
David Bordwell
diegesis
Directors
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
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Eyes Wide Shut
Full Metal Jacket
Gerard Genette
Gustav Hasford
HAL 9000
Hollywood
labyrinth
Literary Adaptation
Michel Ciment
mise-en-scene
modernist
montage
Overlook Hotel
passivity
postmodernism
science fiction
Sigmund Freud
Steadicam
Stephen King
supernatural
symmetry
The Shining
the sublime
the uncanny
Tzvetan Todorov
Vietnam
Product details
- ISBN 9781617038938
- Weight: 489g
- Dimensions: 152 x 228mm
- Publication Date: 30 Jul 2013
- Publisher: University Press of Mississippi
- Publication City/Country: US
- Product Form: Hardback
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Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), his films seem to definitively exploit all cinematic techniques, embodying a compelling visual and aural experience. But, as author Elisa Pezzotta contends, it is for these reasons that his cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence.
Stanley Kubrick's last six adaptations--2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)--are characterized by certain structural and stylistic patterns. These features help to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur. In particular, he can be regarded as an heir of the modernist avant-garde of the 1920s. However, author Elisa Pezzotta concludes that, unlike his predecessors, Kubrick creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.
Stanley Kubrick's last six adaptations--2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)--are characterized by certain structural and stylistic patterns. These features help to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur. In particular, he can be regarded as an heir of the modernist avant-garde of the 1920s. However, author Elisa Pezzotta concludes that, unlike his predecessors, Kubrick creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.
Elisa Pezzotta, Albino, Italy, is cultore della materia of history and critique of cinema at the University of Bergamo. Her work has been published in Wide Screen, Alphaville Journal of Film and Screen Media, and Journal of Adaptation in Film and Performance, and she is the author of ""La narrazione complessa nel cinema di Stanley Kubrick: 2001: Odissea nello spazio e Eyes Wide Shut"" in Ai confini della comprensione.
