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Table of Contents
                            Contents
Foreword
Preface
Acknowledgments
Introduction: Remembering Stanley Kubrick
A
B
C
D
E
F
G
H
J
K
L
M
N
O
P
R
S
T
U
V
W
Y
Afterword
Contributors
Stanley Kubrick: A Selected Bibliography
Index
                        
Document Text Contents
Page 2

THE ENCYCLOPEDIA OF

STANLEY KUBRICK

Page 224

They have three sons:Alexander, Joseph, and Jack.
Alexander Hobbs, the oldest, appears with his
mother in a cameo in EYES WIDE SHUT (1999). The
scene occurs early in the film, in the office of Dr. Bill
Harford (TOM CRUISE).Alexander plays a patient who
is having his sore throat examined, and Katharina
plays his mother.

Katharina’s other major contribution to the film is
that four of her paintings hang, alongside her
mother’s, in the Central Park West apartment of Bill
and Alice Harford (NICOLE KIDMAN). Her most
noticeable painting in the film is of a cat, Polly, a
beloved family pet that lived to the age of 22. She
explains:

Polly loved Dad. She would sleep on his chest if he
let her. I painted the picture of her for his 60th
birthday . . . I consider his placing that painting in
such a prominent position in Eyes Wide Shut as a
huge compliment, and a “thank you” from Stanley.

Along with other members of her family, Katha-
rina Kubrick has found the misrepresentation of her
father in the press to be maddening. “What Daddy
didn’t know about females was not worth knowing,”
she says,“yet people say he was a misogynist, and he
didn’t know about women.” As for the old chestnut
that Kubrick was a recluse, she responds that, “he
knew an extraordinary amount of people, and when
we were children we had writers and scientists and
actors and zoologists and anthropologists visiting
Stanley.We were exposed to all these interesting peo-
ple.”

Katharina Kubrick appears in the documentary
STANLEY KUBRICK: A LIFE IN PICTURES (2001), pro-
duced and directed by her uncle, JAN HARLAN. She is
also seen in a “making-of” documentary that appears
on the DVD release of The Spy Who Loved Me. She
contributes to an online “FAQ” (frequently asked
questions) about her father, sponsored by the discus-
sion group alt.movies.kubrick.

In May 2001, she represented the Kubrick family
at a ceremony inducting her father into the Bronx
Walk of Fame.The honors took place on the Grand
Concourse, Bronx, New York, in the same neighbor-
hood where Stanley Kubrick spent his boyhood.

References Baxter, John, Stanley Kubrick:A Biography
(New York: Carroll and Graf, 1997); “Katharina Kubrick,”
Internet Movie Database, www.imdb.com; James, Nick,
“At Home With the Kubricks,” Sight and Sound 9, no. 9
(September 1999): 12+; Kubrick FAQ, www.visualmem-
ory.co.uk/faq/; Kubrick, Katharina, interview with Rod-
ney Hill, New York, May 18, 2001; LoBrutto, Vincent,
Stanley Kubrick:A Biography (New York: Da Capo, 1999).

Kubrick, Stanley (1928–1999) In a career
that spanned 40 years—but included a mere baker’s
dozen feature films, released in ever slower sequence
as his notorious tendencies toward the micromanage-
ment of projects became more pronounced—Stanley
Kubrick established a distinctive but divided reputa-
tion as a director, famous for controversy and unpre-
dictability as much as for meticulous professionalism
and technical innovation; and for producing works
that have consistently divided critics as well as broader
audiences. 2001: A SPACE ODYSSEY (1968) and THE
SHINING (1980) essentially reclaimed the previously
pulpish genres of SCIENCE FICTION and popular
horror for the big-budget cinematic mainstream,
but Kubrick was equally at home adapting relatively

obscure literary works like WILLIAM MAKEPEACE
THACKERAY’s BARRY LYNDON and ARTHUR SCHNIT-
ZLER’s TRAUMNOVELLE (the source for EYES WIDE
SHUT, 1999), working in established genres like that of
the war film (PATHS OF GLORY, 1957, and FULL METAL
JACKET, 1987), or inventing entirely new categories of
film (as he did most notably in the nuclear-war com-
edy DR. STRANGELOVE).

The range of genres across which Kubrick
worked makes his body of films difficult to catego-
rize, although some basic common ground can be
found. On a thematic level, all of Kubrick’s films fea-
ture a dark, sometimes even malevolent skepticism
about the effectualness of human aspirations in the
face of an unknowable cosmos. In structural terms,
many of his works involve highly divided plots (most
obvious, perhaps, in Full Metal Jacket, but characteris-
tic of other Kubrick films as well). On a technical
level, they are marked by striking visual compositions
(especially favoring a haunting symmetry), fluid cam-
era movements (often employing newly developed
technologies), and memorable use of musical scores.

Kubrick, Stanley n 197

Page 225

198 n Kubrick, Stanley

Kubrick was born on July 26, 1928, in the Bronx,
New York, to a family of Romanian heritage. Critic
Anthony Lane finds it highly significant that his
father’s gift to the young boy of a still camera and a
chessboard was “an inspired, if slightly ominous,
combination.” Kubrick, like novelist VLADIMIR
NABOKOV, continues Lane, “would later be hailed as
the grand master of aesthetic strategy—or, if you pre-
fer, as the Bobby Fischer of cinema, the hermit wonk
who used his players like pawns and trapped his har-
ried audiences in check.”When Kubrick was 17, he
got a job at LOOK MAGAZINE and continued in that
position for four years before resuming his educa-
tion. But in a very real sense, this was his education,
as he noted to interviewer ALEXANDER WALKER:
“Four and a half years of working for Look magazine,
traveling all over America, seeing how things worked
and the way people behaved, gave me some useful

insights plus important experience in photography.”
He also cites Max Ophuls’s films, Stanislavsky’s acting
methods, and Vsevelod Pudovkin’s book Film Tech-
nique as seminal influences on his camera strategies
and directing and editing practices.After fashioning a
trio of short documentaries, beginning with the
self-financed “DAY OF THE FIGHT” (1951), Kubrick
plunged into feature films with FEAR AND DESIRE
(1953), a war film about four soldiers lost behind
enemy lines in an unnamed war. He followed this
with KILLER’S KISS (1955), a boxing picture shot in
New York City locations. Later, Kubrick told Gene
Phillips that he saw the picture as a modest achieve-
ment: “The only distinction I would claim for it is
that, to the best of my belief, no one at the time had
ever made a feature film in such amateur circum-
stances and then obtained world-wide distribution
for it.” More interesting was the noirish THE KILLING

Stanley Kubrick with his sister Barbara, sitting on their father’s car, in the Bronx, circa 1937 (Kubrick estate)

Page 448

Spartacus (film) xviii, 199, 344–347,
346f

Bass, Saul, and 24
censorship of 42–43
cinematography for 251–252
communism in 363
Curtis,Tony, in 71f, 72, 346f
Dall, John, in 73
Douglas, Kirk, in xviii, 84–86,

85f, 199, 206–207, 344–345,
348f, 349f, 390

Farnsworth, Richard, in 109
Frees, Paul, and 119–120
Gavin, John, in 133
homosexual subtext of 42–43,

148, 165–166
HUAC referenced in 375
instant film and 135, 252
Laughton, Charles, in 204,

390–392
Lom, Herbert, in 218
Mann,Anthony, as director of

xviii, 84–85, 275–276,
390–391

Olivier, Laurence, in 71f,
275–279, 346f, 390–392

producing of 206–207
production design of 134–135
restoration of 148
score for 267–268
screenplay for 206–207, 218,

335, 344, 374–375, 390
Simmons, Jean, in 335–336
sound effects in 117–119
Strode,Woody, in 362–363
Ustinov, Peter, in 389–392

Spielberg, Steven 350–354
A.I.Artificial Intelligence and

6–7, 351–354
Stanley Kubrick:A Biography

(LoBrutto) (book) 210, 279
Stanley Kubrick:A Film Odyssey

(Phillips) (book) 288
Stanley Kubrick:A Guide to References

and Resources (Coyle) (book) 67
Stanley Kubrick:A Life in Pictures

(documentary) 354–356
Frewin, Nick, and 124
Harlan, Jan, and 143–144
Kubrick, Christiane, in 354

premiere of, at Berlin Film Fes-
tival xxv

Stanley Kubrick:A Narrative and Styl-
istic Analysis (Falsetto) (book) 108

Stanley Kubrick and the Art of Adapta-
tion:Three Novels,Three Films
(Jenkins) (book) ix–xii, 171

Stanley Kubrick Britannia Award for
Excellence in Film xxv

for Spielberg, Steven 195, 353
The Stanley Kubrick Collection (DVD)

355–356, 408
Stanley Kubrick, Director:A Visual

Analysis (Walker) (book) 396
Stanley Kubrick Directs (Walker)

(book) 396
Star Wars (film) 19, 309
Steadicam 78, 356–358
Stiglitz, Bruce M. 358
Stone, Philip 358–359
Strauss, Johann, Jr. 359–360

The Blue Danube by 31
Strauss, Richard 360–362, 360f

Also Sprach Zarathustra by 12
Strode,Woody 362–364
“Supertoys Last All Summer Long”

(Aldiss) (short story) 364. See also
A.I.Artificial Intelligence

adaptation of 6–8, 11, 353
Sylvester,William 364–365

in 2001:A Space Odyssey 302f,
365, 365f, 384

T
Taylor, Gilbert 366–367
Thackeray,William Makepeace

367–368
The Luck of Barry Lyndon by

21–22, 220–221
The Thin Red Line (film), war themes

in 15
Thompson, Jim 368–369

and The Killing script 183
Tigerland (film), antiwar themes in

15
Traumnovelle (Schnitzler) (novella)

369–372. See also Eyes Wide Shut
adaptation of 104, 295–298,

371

Freudian psychology in 121,
123

Trumbo, Dalton 372–376
Spartacus screenplay by

206–207, 218, 335, 344, 390
Trumbull, Douglas 376–379
Turkel, Joe 285f, 379–381
The Twentieth Century (documentary

series) 28
2001:A Space Odyssey (Clarke)

(novel) 47–48
basis for 321–325
Caras, Roger, and 40

2001:A Space Odyssey (film)
xx–xxi, 173–174, 200, 200f, 211f,
311f, 377f, 378f, 381–387, 382f,
383f, 386f, 387f. See also HAL-
9000

Alcott, John, and 8
Also Sprach Zarathustra in 12
basis for 321–325
The Blue Danube in 31
cinematography for 382,

388–389
Clarke,Arthur C., and 47–49
critical reception of xi,

386–387
“Dawn of Man” segment of 8,

16, 323–324, 384
Dullea, Keir, in 95–96, 95f,

383f, 384–386, 386f
editing of 219
Frewin,Anthony, and vii–viii,

124
Frewin, Eddie, and 124
Kubrick,Vivian, in 202
Lockwood, Gary, in 382f, 383f,

384–385, 386f
monolith of 128, 141,

322–323, 361
music in 207–208, 359–362,

383–384
Odysseus pattern in 48,

322–323
production design of 237
Rain, Douglas, in 139, 294,

384
Rossiter, Leonard, in 301, 302f
in science fiction tradition

30–31, 309–312, 350

Index � 421

Page 449

score for 268–270
second-unit photography for

132
special effects for 376–379, 394
Stargate sequence of 132,

377–378
studio support of 274
Sylvester,William, in 302f, 365,

365f, 384
2010:The Year We Make Contact (film)

49, 142

U
Underwood,Tim 388
United Artists

Killer’s Kiss distributed by xvi,
334

The Killing distributed by 145
Paths of Glory financed by xvii,

13, 83
Spartacus and 84

Universal Studios, Spartacus and
84–85, 148, 252

Unsworth, Geoffrey 388–389
Ustinov, Peter 389–393

V
Veevers,Wally 394–395
Vinyl (film) 64–65
violence

Beethoven and 26–27
in A Clockwork Orange 36, 52,

119
in Full Metal Jacket 160

Violence in the Arts (Fraser) (book)
119

visual design, emphasis on ix
Vitali, Leon 395

in Barry Lyndon 407

W
Waldorf Conference Statement 305
Walker,Alexander 396
The War Game (documentary), anti-

war themes in 16
Warhol,Andy, Vinyl filmed by

64–65
war movies 14–16
Warner Bros. 396–397

A.I.Artificial Intelligence and 7
A Clockwork Orange and 55

Eyes Wide Shut and 107, 298
Jamieson, Brian, at 170–171
Semel,Terry, at 321

What Price Glory? (film), war themes
in 14

Wheat, Leonard F. 397–398
White, Lionel, Clean Break by

50–51, 145, 183
“Why Man Creates” (short docu-

mentary) 25
Williams, Robin

in A.I.Artificial Intelligence 3–4
in Bicentennial Man 6

Willingham, Calder 283f, 398
Windsor, Marie 398–399

in The Killing 184–186
Winters, Shelley 400–404, 400f
Wynn, Keenan 404–405

Y
Youngblood, Gene 406

422 � Index

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