Understanding Kubrick's 2001: A Space Odyssey

Description

Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks new ground by bringing together recent empirical approaches to Kubrick with earlier formalist approaches to arrive at a broader understanding of the ways in which Kubrick’s methods were developed to create the unique aesthetic creation that is 2001: A Space Odyssey. More than 50 years after its release, contributors explore the film’s still striking design, vision and philosophical structure, offering new insights and analyses that will give even dedicated Kubrick fans new ways of thinking about the director and his masterpiece.

Introduction: Forging new perspectives

James Fenwick

Part One: Narrative and Adaptation

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Chapter One: ‘God, it’ll be hard topping the H-bomb’: Kubrick’s search for a new obsession in the path from Dr. Strangelove to 2001: A Space Odyssey

Simone Odino

Chapter Two: 2001: A Space Odyssey: A transcendental trans-locution

Suparno Banerjee

Chapter Three: Four-colour Kubrick: Jack Kirby’s 2001: A Space Odyssey as adaptation and extension

Dru Jeffries

Part Two: Performance

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Chapter Four: Performing the man-ape in ‘The Dawn of Man’: Daniel Richter and The American Mime Theatre

James Fenwick

Chapter Five: Life functions terminated: Actors’ performances and the aesthetics of distanced subjectivity in 2001: A Space Odyssey

Vincent Jaunas

Part Three: Technology

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Chapter Six: From technical to cinematographic objects in 2001: A Space Odyssey

Antoine Balga-Prévost

Chapter Seven: Homo machinus: Kubrick’s two HALs and the evolution of Chapter Seven: Homo machinus: Kubrick’s two HALs and the evolution of monstrous machines

Cynthia J. Miller and A. Bowdoin Van Riper

Part Four: Masculinity and the Astronaut

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Chapter Eight: Clarke and Kubrick’s 2001: A queer odyssey

Dominic Janes

Chapter Nine: ‘But as to whether or not he has feelings is something I don’t think anyone can truthfully answer’: The image of the astronaut in 2001: A Space Odyssey and its lasting impact

Nils Daniel Peiler

Part Five: Visual Spectacle

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Chapter Ten: Negative/Positive: Metaphors of photography in 2001: A Space Odyssey

Caterina Martino

Chapter Eleven: The sublime in 2001: A Space Odyssey

Rachel Walisko

Part Six: Production

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Chapter Twelve: 2001: A comprehensive chronology

Filippo Ulivieri

Sujets

• Futuristic
• Media Studies
• Social Science
• Science Fiction
• HISTORY
• Sociologie, société et politique
• Película fotográfica
• América del Norte
• Film director
• Film Culture
• Future
• General officer
• Screenplay
• Performing arts
• North America
• History of the Americas
• History of film
• General
• Vision
• Film

Informations

• Publié par: Intellect Books
• Date de parution: 15 juillet 2018
• Nombre de lectures: 0
• EAN13: 9781783208647
• Langue: English

Extrait

First published in the UK in 2018 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2018 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2018 Intellect Ltd.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Copy-editor: MPS Technologies
Cover designer: Aleksandra Szumlas
Production manager: Matthew Floyd
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-863-0
ePDF ISBN: 978-1-78320-865-4
ePub ISBN: 978-1-78320-864-7
Printed and bound by TJ International, UK.
This is a peer-reviewed publication.
For Marlie , At the start of your own odyssey
Contents
List of Illustrations
Notes on Contributors
Acknowledgements
Notes on the Text
Introduction: Forging new perspectives
James Fenwick
Part One: Narrative and Adaptation
Chapter One: ‘God, it’ll be hard topping the H-bomb’: Kubrick’s search for a new obsession in the path from Dr. Strangelove to 2001: A Space Odyssey
Simone Odino
Chapter Two: 2001: A Space Odyssey : A transcendental trans-locution
Suparno Banerjee
Chapter Three: Four-colour Kubrick: Jack Kirby’s 2001: A Space Odyssey as adaptation and extension
Dru Jeffries
Part Two: Performance
Chapter Four: Performing the man-ape in ‘The Dawn of Man’: Daniel Richter and The American Mime Theatre
James Fenwick
Chapter Five: Life functions terminated: Actors’ performances and the aesthetics of distanced subjectivity in 2001: A Space Odyssey
Vincent Jaunas
Part Three: Technology
Chapter Six: From technical to cinematographic objects in 2001: A Space Odyssey
Antoine Balga-Prévost
Chapter Seven: Homo machinus : Kubrick’s two HALs and the evolution of monstrous machines
Cynthia J. Miller and A. Bowdoin Van Riper
Part Four: Masculinity and the Astronaut
Chapter Eight: Clarke and Kubrick’s 2001 : A queer odyssey
Dominic Janes
Chapter Nine: ‘But as to whether or not he has feelings is something I don’t think anyone can truthfully answer’: The image of the astronaut in 2001: A Space Odyssey and its lasting impact
Nils Daniel Peiler
Part Five: Visual Spectacle
Chapter Ten: Negative/Positive: Metaphors of photography in 2001: A Space Odyssey
Caterina Martino
Chapter Eleven: The sublime in 2001: A Space Odyssey
Rachel Walisko
Part Six: Production
Chapter Twelve: 2001 : A comprehensive chronology
Filippo Ulivieri
Appendix One: Stanley Kubrick filmography
Appendix Two: 2001: A Space Odyssey film credits
Notes
Bibliography
Index
List of Illustrations
Figure 1: Daniel Richter dressed in a test man-ape costume. From the collection of Daniel Richter.
Figure 2: Dan Richter’s choreography notes for 2001: A Space Odyssey’s ‘The Dawn of Man’. From the collection of Daniel Richter.
Figure 3: United Nations Secretariat Building under construction, New York. Photograph by Eugene Kodani, c.1951. Courtesy of Environmental Design Visual Resources Center, University of California, Berkeley.
Figure 4: Anita Steckel and the Skyline Painting (1974), by permission of the artist. Steckel photographed in front of one of her works which she had included in the exhibition at Rockland Community College (part of the State University of New York, located 25 miles northwest of Manhattan).
Notes on Contributors
Antoine Balga-Prévost is completing a two-year technical degree in audiovisual production at the Institut National de l’Audiovisuel (Ina, France). He completed a Masters in audiovisual and cinema studies at the Sorbonne-Nouvelle Paris III University, University of Montreal, and Goethe-University Frankfurt am Main, with a thesis entitled, ‘Kubrick, McLuhan, and Simondon: A philosophical reading of the machine in 2001: A Space Odyssey’. His research interests include media theory, the philosophy of technology, new media practices and the aesthetics of cinema.
Suparno Banerjee is associate professor of English at Texas State University, San Marcos, specializing in science-fiction and postcolonial studies. His scholarship has appeared in many academic journals including Science Fiction Studies; Journal of the Fantastic in the Arts; Extrapolation; Journal of Commonwealth and Postcolonial Studies; and South Asian Popular Culture and in multiple anthologies of critical works on science-fiction including SF 101: A Guide to Teaching and Studying Science Fiction published by SFRA.
James Fenwick has written about the British Eady Levy for The Routledge Companion to British Cinema History (2017a) and he has also written several articles on Stanley Kubrick including ‘“Freddie, can you talk?”: The Ethics of Betrayal in Frederic Raphael’s Memoir Eyes Wide Open (1999)’ (2017b) and ‘Curating Kubrick: Constructing “new perspective” Narratives in Stanley Kubrick Exhibitions’ (2017c). His research interests include American cinema, the role of the producer, unmade cinema, and the films of Bob Dylan.
Dominic Janes is professor of modern history at Keele University. A cultural historian, his research focus is on texts and visual images relating to Britain in its local and international contexts since the eighteenth century. His interests are centred on gender, sexuality and religion and he is the author of several books, including Picturing the Closet: Male Secrecy and Homosexual Visibility in Britain (2015); Visions of Queer Martyrdom from John Henry Newman to Derek Jarman (2015); and Oscar Wilde Prefigured (2016).
Vincent Jaunas passed the Agrégation in 2015, with a specialty in English Literature, before starting his Ph.D. at the Université Bordeaux-Montaigne under the direction of Professor Jean-François Baillon. His thesis focuses on subjectivity in the work of Stanley Kubrick.
Dru Jeffries is postdoctoral fellow at the University of Toronto’s Cinema Studies Institute. His current research project, ‘Kubrick’s afterlife: Cultural reverberations and the legacy of a filmmaker’, explores the role of paratexts in constructing auteurs in contemporary popular culture. He received his Ph.D. in film and moving image studies from Concordia University in 2014. He is currently completing work on his first book, Comic Book Film Style: Cinema at 24 Panels Per Second, and has been recently published in Porn Studies (forthcoming); Cinephile; and Quarterly Review of Film and Video.
Caterina Martino received her Ph.D. from the University of Calabria (Italy) for her thesis ‘Photographic Archives: From the Documentation of Cultural Heritage to the Formation of a Visual Culture’. During the Ph.D., she was a visiting research student at the Photography and the Archive Research Centre (London College of Communication) and worked as a volunteer at the Stanley Kubrick Archive. She is now continuing her research in Italy alongside her work as a member of the editorial staff of the academic journal Fata Morgana. Her research focuses on photography and its relationship with other fields such as philosophy, art, cinema, etc. She is also a member of the Laboratory of Photography ‘Saverio Marra’ (University of Calabria) and international volunteer for the Renaissance Photography Prize.
Cynthia J. Miller is cultural anthropologist, specializing in popular culture and visual media. She is the editor or co-editor of ten scholarly volumes, including the award-winning Steaming into a Victorian Future: A Steampunk Anthology (2012, with Julie Anne Taddeo); The Silence of the Lambs: Critical Essays on Clarice, a Cannibal, and a Nice Chianti (2016); and What’s Eating You?: Food and Horror on Screen (2017, with A. Bowdoin Van Riper). She also serves as the series editor for Rowman & Littlefield’s Film and History book series, and as editorial board member for the Journal of Popular Television and Bloomsbury’s Guide to Contemporary Directors series.
Simone Odino is public librarian and archivist in Bologna. For the last five years he has been actively researching 2001: A Space Odyssey, conducting interviews with cast and crew and visiting archives in the United Kingdom, the United States and Italy. He runs the website http://www.2001italia.it.
Nils Daniel Peiler is Ph.D. candidate at Heidelberg University with a project about the artistic resonance of Stanley Kubrick’s 2001: A Space Odyssey. His research interests include filmic reception, filmic paratexts, and film dubbing. He is the co-editor on the first German anthology on film dubbing Film im Transferprozess (2015).
Filippo Ulivieri is a writer and a teacher of film theory. He is the leading expert on Stanley Kubrick in Italy with over fifteen years of research on the subject. His features on the director’s career have appeared in several international newspapers and magazines. He is the author of Stanley Kubrick and Me , the biography of Kubrick’s personal assistant Emilio D’Alessandro ([Il Saggiatore, 2012] Arcade Publishing, 2016); and co-scenarist of Alex Infascelli’s documentary S Is for Stanley (2015).
A. Bowdoin Van Riper is an historian who specializes in depictions of science and technology in popular culture. His publications include Imagining Flight: Aviation in Popular Culture (2003); A Biographical Encyclopaedia of Scientists and Inventors in American Film and Television (2011); and Teaching History with Science Fiction Films (2017). Additionally, he is editor or co-editor of seven scholarly volumes, including Learning from Mickey, Donald, and Walt: Essays on Disney’s Edutainment Films (2011); 1950s “Rocketman” TV Series and Their Fans: Cadets, Rangers, and Junior Space Men (2012, with Cynthia J. Miller); and Horrors of War: The Undead on the Battlefield (2015, with Cynthia J. Miller).
Rachel Walisko completed her MSc at the University of Edinbur