After Kubrick: A Filmmaker's Legacy

Description

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