Destination horreur (Hors-séries) (French Edition)

This type of viewer does not question the amalgam of the cinematographic index with a limpid language, here to deliver a message. The labyrinth which the film is is therefore denied its aesthetic quality, and becomes considered as a symbolic text aiming at delivering a fixed, stable message about the real world, like the denunciation of a secret sect or the admission of a secret conspiracy with the American government. Kubrick indicates his spectators they must be careful not to mix up an indexical sign with what it represents. In other words, one must be aware not to equate representation with reality.

Cinema is an art of representation and should not be seen as holding a clear and direct message about reality. The best way to deal with a contingent world, The Shining suggests, is to create a work of art which embraces its openness, its multiplicity, and becomes an interpretative maze.

Any viewer mixing up an index and the reality it represents blinds himself from the multiplicity of film as well as from the multiplicity of reality itself. The final photograph shows Jack stuck forever within the Overlook hotel Figure Death 24x a second: Jack becomes an aberration, a necessarily ungraspable representation, just like the ghosts he did not perceive as such. Danny, as an ideal spectator, offers instead an open worldview, in which any vision occupies a level of reality of its own, and retains its mysteries.

Danny observes his snow tracks and sees in it complex signs he can play with. Faced to this reality which overflows —like the elevators overflow with blood— and that goes beyond any possibility of human comprehension, two modes of perception oppose each other. The Shining is therefore a challenge for the viewer. Faced with the depths of the maze, Hermetic spectators run the risk of digging into the film to, para- doxically, negate its depths and stick to a limpid, reductive reading hypothesis.

If The Shining shows how this revelation may be a source of terror, it is the price to pay to be able to avoid the trap of reducing it to a controllable, well-defined entity. Given the immensity of the labyrinth, the film fosters a worldview defined by humility, one in which human intelligence has to face its own limits to get out safely. I suggest that, as highlighted by the motif of the labyrinth, Kubrick constructed a hermeneutic maze in which Jack —subject to hermetic thought— loses himself while Danny, whose humility enables him not to fall into the traps of an organising reason striving to make sense of a world impervious to human logic, escapes.

In doing so, The Shining envisages its own reception through the staging of two conflicting viewing models. Keywords Kubrick, The Shining, hermeneutics, overinterpretation, reception theory. The search for meaning in crisis 91 Figure 1: The maze and its open centre.

An ending that denies closure. An excess of visibility. Two conflicting viewing models. The search for meaning in crisis 93 Figure 7: Two opposed relations to space. Towering over the labyrinth or enjoying its depth. Stanley Kubrick and Hieronymus Bosch: Kubrick made a geographical and temporal shift to late-twentieth-century New York, other- wise remaining faithful to the original novella. By revealing her hidden sexual desires that are obviously not properly fulfilled in the marital bed, she causes a psychological crack in her husband, who will have to suffer a painful process of self-discovery to recover his reputation of a doctor, father and family man.

Eyes Wide Shut can be understood as essentially an intimate film about the unbearable lightness of domestic being. It deals with romance and passion, rethinking the old presumption that women want love, and men want sex. It looks at sex as an important marital driving force whose unifying powers must not be forgotten and underrated. It is not surprising that the director waited for almost three decades to develop this project, although Warner Brothers announced its production just after the premiere of A Clockwork Orange Norton and Company, , p.

The appeal of this story lies in the fact that Kubrick constantly blurred the boundaries between the real and the imaginary, basically relying on the impressions induced by Schnitzler: It scarcely beat faster. By choosing universal themes such as love and jealousy, commit- ment and trust, sexual intimacy and sexual immorality, monogamy and lust, Kubrick forced us to seek after the true motivation of his final personal and emotional unmasking.

He left no letters or diaries, and there are only few references to him in the account books of the Brotherhood of Our Blessed Lady. Members of this fraternity were well educated priests, theologians, lawyers, and doctors, and by the membership was extended to few architects and painters. He was a devout Catholic, led a peaceful, religious life, and left no children. Occasionally he was commissioned by the Brotherhood to produce altarpieces and panels for their chapels.

Paradise and the Creation of Eve left wing , Humankind before the Flood central panel and Hell right wing. Encapsulated in the concept of docere et delectare, this phrase refers to Horace and his poem Ars Poetica BC in which he said: Unlike the twentieth-century individual who accepted sex as a normal part of the human condition, The Garden of Earthly Delights arguably depicts the sensual life, more precisely the deadly sin of Lust luxuria. Hans Belting, Hieronymus Bosch: The Garden of Earthly Delights has been studied by many scholars who proposed contradictory interpretations of its central panel.

Some of them see it as a panorama of paradise lost, while others think of it as a moral warning. Belting interprets it as a vision of humankind in Paradise untouched by the fall. In The Garden of Earthly Delights false Paradise whose transient beauty leads mankind to ruin and damnation. These art historians assume that the triptych represents a nightmare of the humanity and the consequences of ephemeral sensual enjoyment.

It also reflects the primary religious and moral perspective from which marriage was viewed in Northern Europe. Bosing following Baldass notes that the medieval man was very suspi- cious of material beauty. Behind physical loveliness often lurked death. The moralising context of these works was accepted by Bosch in many of his well-known paintings: Along with other paintings, the triptych was intended to intrigue and entertain the guests of his court.

In The Garden of Earthly Delights warning for his nephew. In her fair and slender elegance, Alice is already an image of temptation: Regardless of the fact that upon his waking Adam directly looks at the newly created woman and turns towards the world of the senses, he has not yet fallen from grace. It was believed that previous to the Fall, Adam and Eve had copu- lated without lust, solely for the purpose of producing children.

Kubrick also shapes the psychology of his characters and the specific atmosphere of each scene by using red and blue. She is seen in various interiors: This was considered to be the very first of all the deadly sins, the one to which Eve surrendered even in Eden. Therefore, the woman in the Hell panel, facing the mirror, is the negative complement not just of Adam, but also of Eve, as she is portrayed before the fall in the Paradise wing. She is associated with lust because of the devil who puts his arms around her: Giovanni Arnolfini is seen in front of the window —signifying the public sphere assigned to the male, while Giovanna Cenami his wife is depicted beside their marital bed, as an integral part of her domesticity.

Kubrick organised these complementary sequences as realistic and dreamlike manifestations of one and the same event, which serves to unmask the doctor, make him face his unconscious fears of infidelity, sexually transmitted diseases and death, and finally show him the way back home. Marion reveals her love for the doctor, bringing to light her true longings.

The same action can be assigned to the Red Judge. Allowing improvised music-making would only lead to immorality. Bosch depicts a figure being crushed by a giant lute. On his backside a four-line musical staff appears as a tattoo on his skin. Today, musical scores are written on a five-line staff. It remained a complete mystery what the musical notes on the buttocks might have sounded like. The password Fidelio unlocks the door to an alternative world in which real social circumstances are turned upside down, the arbitrary is set as the new ordering principle, marriage is mocked, and fidelity is nonexistent.

This is the fallen humankind, the one that forces Bill to choose between the celestial safety of marriage and the illicitness of the outside world. It obviously brings to mind the central panel of The Garden of Earthly Delights, the extensive park- like landscape crowded with nude men and women, who eat giant fruits, play with birds and animals, enjoy the water and above all, indulge in various amorous sports blatantly and without shame. Vandenbroeck associates the cherry with fertility, marriage, and eroticism. The blackberry refers to love; the strawberry signifies the pleasure of love, while song-birds and fish are phallic symbols.

In secular fifteenth-century compositions, these fictive gardens, reminis- cent of locus amoenus pleasant places which had its roots in the literature of Antiquity, are usually occupied by women and men seen in conversation, playing games or making romantic advances to each other, while music is played and food and drink lie close at hand. His garden is designed as a secular garden of earthly love, the one in which various aspects of Lust are acted: When the naval officer steps out of a nearby wood towards her, he is shown as part of the trees, as he moves.

The most significant series of drawings illustrate Alice and the naval officer making love in a variety of positions on the back 55 Fischer, Ibid.

• Cuando todo se derrumba: Palabras sabias para momentos difíciles (Budismo) (Spanish Edition).
• Ist das jetzt der Urlaub?: Unsere abenteuerliche Wanderung mit zwei kleinen Kindern und einem Esel auf Korsika (German Edition);
• La colonie du diable (French Edition).

His enclosed garden contains hidden symbolism indicating poisonous side of the sexual enjoyment. They were commonly employed as a metaphor for the sexual act. The high-an- gle long shot of people standing or sitting in a circle can be seen in Spartacus, when the freed gladiators gather in the arena to plan their next action; in Dr. When he comes to Somerton he sees the Red Judge choosing disguised beauties from the circle outlined with their bodies.

Attendees of the ball encircle Bill accusing him of inconsiderate disturbance of their sexual satisfaction. He is expelled from his paradisiacal home where he will return after a long period of roaming around New York. After all his wanderings, Bill manages to find his way home, to the eternal heavenly garden, whose harmony must be restored in the marital bed, before any of those unfulfilled sins become true. A didactic, aphoristic poem based on the marriage proverbs, written in says: Ultimately, the viewers will choose their own path: This intricate artwork was intended to serve as a nuptial mirror, as a guide to a successful marital alliance, and a study of its benefits and risks.

Examining the narrative content and visual styles of both artworks, I tried to demonstrate how both Bosch and Kubrick construct a didactic, moralising world picture, and how they use their unique artistic expressions to amuse viewers and instruct them how to overcome their personal weaknesses through tolerance and love. Between Painting and Film Belgrade: Film Centre Serbia and several articles on Kubrick in Serbian journals. In attended Stanley Kubrick: In published Unmasking the Society: Teaches history of European Art from Renaissance to the present day.

Modern Art, Historical avant-gardes and Film studies. Bosch, The Garden of Earthly Delights, Bosch, Detail from the S. Humankind before the Flood. Bosch, The Garden of Earthly Delights. Le chapitrage et les cartons sont donc en partie des leurres: Dans le labyrinthe du film-cerveau: Abstract What kind of connection does cinema entertain with thought? Barry Lyndon Figure 1: Barry Lyndon Figure 2: Shining 5, 6, 7: Shining ; Figures 8, 9, Figures 5, 6, 7: Shining 8 ; Figu Figures 5, 6, 7: Orange 9 10 Figures 11 et Figures Figures 11 et The concept is particularly associated with the comicbook universes of Marvel and DC and their film franchises.

I will claim that this meta-Kubrick film, as an analytical object, can tell us something about the Kubrickian, or the sensibi- lities of the person who created it. Lefort claims that the auteur and the oeuvre represent a reciprocal system, both aspects of which serve as a mutual guarantee. A network 1 Lefort C. Northwestern University Press, , p. For example, the nodes of a computer network are the individual computers and its links are the hardwire or Wi-Fi connections.

Scale free networks are found in a wide variety of naturally occurring objects, from the cellular level of life,3 to the structure of galaxies. The nodes of an evolving network are not just randomly distributed but tend to form into groups surrounding one particular node, which is more connected than the rest. Communication across a network takes place in the form of a dyadic connection between individual nodes. But due to the presence of both clusters and hubs, communication occurs between any two nodes in the network in a surprisingly small number of steps. For example, there are just 4.

Its nodes are the various signs that can be considered meaningful elements within the individual films. Its links are the affinities between nodes that occur in different films. Basic Books, , p. The European Physical Journal B, , 58 3: Nature, , The Kubrick Cinematic Universe set the trends for the whole network. In digital texts such as videogames, for example, the textons can be reconfigured by the user at the level of the text; however, in traditional media such as films , textons cannot be altered, although the scriptons that make up the readings of them can differ considerably between one interpreter and another, because the interpretation that a reader makes is unique to them.

In applying these ideas to an analysis of cinematic universes, one can say that the hubs of the universes of comicbook films are the reoccurring characters or events of the meta-narrative. To extend the concept to an analysis of Kubrick films, we can say that the hubs in this universe are more centred upon common thematics and aesthetics. For example, a candidate hub is the theme of how otherwise perfect systems are let down by human fallibilities. A Space Odyssey is an exemplary film to demonstrate how an inter- pretive method that is already applied to an individual film can be scaled up to apply to his entire oeuvre.

Consequently, thematic points and ideas are commu- nicated pictorially rather than lexically. The trick at arriving at a satisfying interpretation for the film —one which draws all of its disparate elements together into a coherent explanation— is to link the textons intratextually as a network of signs.

An interpreter does this by comparing or contrasting textons found in one part of the film with those found in other parts. Business Horizons, , 54 3: Perspectives on Egodic Literature. Fontana Press, HarperCollins Publishers, , p. Another instance is how the barren landscape of the prehistoric hominids is linked to the barrenness of the lunar landscape or to outer space , both of these extraterrestrial environments suggesting similar challenges for human species survival.

If these connections are not made, would appear to interpreters to be just a series of random unconnected events. So the hermeneutic work involves joining both contingent and associative textons within an indivi- dual film to create a coherent series of scriptons that explains them. Furthermore, it is often the case that interpreters will draw upon other semiotic elements that occur outside of the film text to endorse their coherent interpretation.

For example, in , a commonly discussed connection links the various stages of humanity hominid, contem- porary and starchild to the stages outlined in the philosophy of Nietzsche. This, however, is a riskier strategy, since the texton-scripton relationship has been stretched beyond the intratextual into the realm of the intertextual. A full analysis is beyond the scope of this paper. I will begin by focusing on just three films: However, his handling of the performances and elementary mistakes made with the editing betray the fact that he was a filmmaking novice.

Essays on His Films and Legacy. The Kubrick Cinematic Universe Fear and Desire takes place in an unspecified country at a time when a war is raging. Four soldiers are stranded behind enemy lines. The film begins with a sonorous monologue that foregrounds the films status as a fiction. There is war in this forest. And the enemies who struggle here do not exist, unless we call them into being. She is restrained by being tied to a tree, like Ariel in The Tempest, trapped by the witch Sycorax. Consequently it is difficult to know how to interpret them.

The filmmaker is clearly ambitious. He strives for gravitas and sophistication. But he lacks the subtlety and the artistry to achieve his aims. Kubrick thereby undercuts his own authority as a filmmaker, through telling us of his reflexive intentions. In his later works, he would find ways to hide this crude didacticism.

Edinburgh University Press, , p. Faber and Faber, , p. Fear and Desire is an instructive film because it demonstrates that Kubrick was always interested in incorporating big themes into his stories, therefore countering accusations that his admirers are suffering from interpretive over- reach by reading too much into them. In Fear and Desire the allegories and symbolism are blatant. Kubrick in later life would find more sophisticated and subtler ways to disguise them. However, he remained the ambitious and intellectually curious person who was the director of Fear and Desire.

A Choice of Evils. The Kubrick Cinematic Universe Kubrick made frequent references to his previous films in his oeuvre. A Space Odyssey is prominently displayed in the record store that Alex visits. The main dramatic interest in Fear and Desire comes from the juxtapo- sition between the motives of the soldier, Mac, and those of the unnamed enemy General. This is explored through the motif of self-sacri- fice. In proposing his idea to assassinate the General, Mac speaks directly about his life to his commanding officer, Lieutenant Colby. I cannot quite admit that it is I who am creating a slaughter in this abyss.

Both are trapped between the twin polarities of a fear of consequences and a desire for consequentiality. The futility of war theme is one that Kubrick will return to again and again. This sense of futility as a motivation for human heroism and anxiety is also present in films that are ostensibly not about war. For example, in A Space Odyssey it is refe- renced in the central preoccupation of the film: Kubrick stated in a Playboy interview promoting that: It was again written by Howard Sackler, this time in collaboration with Kubrick.

It is a far more straightforward genre picture than Fear and Desire.

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The movement of this tracking shot and its abstract expressionism anticipates the stargate sequence from Foreshadowing events in the narrative, a favourite storytelling technique of Kubrick, is also present in this film. Kubrick was attracted to this technique because it minimised the effect of surprise. University Press of Mississippi, , p. The Kubrick Cinematic Universe how it will happen. Undoubtedly the presence of this sign is serendipitous, given the guerrilla filming techniques that Kubrick used. However, its presence symbolises the sense of dread faced by Gloria.

In later films, Kubrick would utilise fores- hadowing frequently. Similarly the scene depicting the strained marriage at the beginning of The Shining already suggests fault lines that will open up later in the narrative. The narrator also underscores this sense of fatalism through dramatic irony. At the end of the fight Gordon spears Rapallo and Kubrick cuts to the face of one of the mannequins. The mask motif is one that will appear in many Kubrick films.

And the Somerton orgy sequence in Eyes Wide Shut depicts a masked ball, with the rich and powerful disguised by striking Venetian and expressionistic face coverings. In addition to actual masks, Kubrick is also drawn to the face depicted as a mask. Especially in times of heightened emotional intensity, his characters wear the rictus grins and frozen expressions of both agony and ecstasy. In the scenes that take place in the derelict casino in A Clockwork Orange, the sides of the stage are framed by two enormous 24 Ciment M.

University of Illinois Press, On many occasions throughout his oeuvre, Kubrick uses the dichoto- mies between the sacred and profane to shine a light on the otherwise private aspects of the human condition. Give him a mask, and he will tell you the truth. In his later works Kubrick would favour adaptation over original screenplays, commissioning material from writers to develop stories he could later turn into films.

Being able to analyse a completed narrative played to his strengths as a filmma- ker. Like planning ahead in a chess game, he could strategise the best way to present the scenes and foreground the thematics of the narrative. He excelled at finding visual ways to dramatise the psychology and interiority of novels. The Robbery itself is a meticulously handled operation and Kubrick manages to integrate all of the members of his large ensemble cast into a satis- fying drama, where none of the roles seem superfluous or underwritten. This film also introduces the pervasive Kubrickian theme of the perfect operation that is thwarted by human fallibilities.

This is a theme that is revisited, notably in Lolita, Dr. University of Illinois Press, , p. The Kubrick Cinematic Universe The Killing also marks the debut of another pervasive trope in the Kubrick cinematic universe —the Kubrickian anti-hero. From Lolita onwards, Kubrick displays a preference for flawed protagonists. His heroes tend not to be virtuous, nor particularly admirable people. A Space Odyssey, the ostensible hero roles of Bowman and Poole are realised, not through their nobility or dramatic passions, but through the systematic competences that would be expected of those who would occupy such positions.

The moral universe of The Killing is one in which bad deeds must not go unpunished. In later films, Kubrick would gain more confidence as a storyteller and make his hero less overtly likable and more interesting, so that the narra- tive did not suffer whether audiences cared for them or not. Kubrick would discover that he could be a more effective moralist if he confronted hegemo- nic moral frameworks rather than endorsing them.

By placing audiences in the duplicitous position of sympathisers, Kubrick allows a productive tension to develop between the emotions that his films elicit and the ideas they raise. In The Killing, for example, one of the characters, Maurice, a chess-playing wrestler, becomes a kind of conduit who articulates this very Kubrickian perspective.

Johnny, you have not yet learned that you have to be like everyone else. You know, I often thought that the gangster and the artist are the same in the eyes of the masses. In challenging hegemonic norms, these characters have the potential to jolt people out of their complacency and to address issues of true existential import. But, in his later films Kubrick became more subtle in his presentation of this theme. His characters for the most part remain outsiders, but they do not speak of their predicament so directly. They lie, they euphemise; they mask their condition in obfuscation.

The challenge to hegemonic norms is only occasioned by the narrative in these films, their ideas are dramatised in the situation the characters find themselves in, rather than being spoken of directly. This was the main lesson Kubrick learnt from making Fear and Desire. Kubrick uses marriage not just to explore issues of fidelity and betrayal, but also to unmask the complex motivations and failings of the human condition. Kubrick wrote in the one thing that has always distur- bed him is the endings of films, because they tend to introduce a false note: The Kubrick Site, The Observer Weekend Review.

The work of making meaning is something that is often left for audiences to decide. In his depiction of marriage, Kubrick was not a polemicist. He was happier showing the way things are between men and women rather than presenting an idealised vision of how they should be. Like Bowman and Pool she is not heroic, although critics miss how capable she is, running the hotel and then saving Danny and herself from Jack. Compared to his later depictions of married life, the marriage in The Killing is easily read according to the conventions of Hollywood Film Noir.

And yet there is something in the duplicity, inventiveness and intelligence of Sherry, the wife, that starts to sketch out an approach that will later transcend Hollywood conventionality. As with his moral outlook, Kubrick realised that it was far more dramatic to show behaviour and not to explain it. But after The Killing the presence of his strong personal sensibility, that of an endlessly curious moral satirist would start to become more apparent in his work. In different pheno- 33 Barry D. The Kubrick cinematic universe is a complex analytical object.

As a network, it contains hubs but also nodes that are not thematically conjoined to any others. Kubrick was a director who constantly tested the boundaries, including those of his own aesthetics and thematics. The main instances of affinities I have identified so far include a preference for stories about war and conflict, a liking for masks, the antagonism for mediocrity, and a self-reflexive quality. However, there is much to be discovered that lies outside any of these patterns. Indeed there are also many instances where the texton elements in his films can be read against the grain of the interpretive scriptons offered here.

A primary interest in exploring the Kubrick Cinematic Universe has been to regulate the analytical discourse surrounding Kubrick and his films. Both of these perspectives can be limiting in their own way, because both attempt to foreclose further discussion. The horizon shrinks to the dimensions of the perceiving mind, and I discovered through an apprecia- tion of his films that my horizons haves been greatly expanded. I think this is his true legacy as a filmmaker, as well as the gift he gives to his admirers.

The intellectual pathways which are opened up by visiting the Kubrick cinematic universe is at the root of the pleasure of being an admirer of his work. Rod Munday Aberystwyth University odm aber. Out of these instances, a definition of a cinematic universe can be elaborated. The internet is an example of a self-organizing system, which is the object of a branch of mathematics know as network topology. What was hitherto thought of as a random distributed network, consisting of computer servers and links, is now known to be a scale-free network; a self organising system of hubs, clusters and short-path-lengths.

Such self-organizing systems were also found to exist in a wide range of phenomena, from the structure of cells, to galaxies. So it can be inferred that all modes of self-organisation follow this pattern of organisation. The goals of this exercise are twofold: This approach represents, therefore, a new method to study the work of a filmmaker as an auteur, through their body of work, or oeuvre. Keywords Comic-book universes, network topology, scale-free-networks, the Kubrikian, auteur theory. He worked for twenty years television post production.

He has curated The Kubrick Site since and started the alt. Personal characte- ristics assigned to Kubrick affect our image of the director, our understanding of his working methods and the nature of his collaboration. Such a man takes —and gives— immense pains in carrying out a resolve like this. Self-discipline in this kind of director demands a degree of despotism —basically benevolent, yet ruthless in never allowing anyone or anything to jeopardize the work of constructing a movie in his own image of it.

The myth is still widespread today. Shelley Duvall, the leading lady in The Shining, portrayed a character that became more distressed, exhausted and distraught as the film goes on. I refer to these testimonies as origin stories. Instead of focusing on the search for new interpretations of his films, relevant information on his work practice can be found in considering Kubrick as a collaborator and not as a single, uncompro- mising authority. Kubrick managed his crews with a set of complex ideas on filmmaking. Collaborative relationships affected the film, Kubrick himself and the indivi- dual workers on his team.

However, the opposite is the case as well; behaviour, actions and relationships influenced the effectiveness of the collaboration. The intricate connection between the collaboration and co-working relation- ships requests an explicit elaboration of the characteristics of these processes. The characteristics of collaboration mimic group formation in the society in general and I elaborate on them by taking into account the creative factors in group formation.

At the same time, the crew is not only a unit but a body formed of individuals. This fact places collaboration in a social process which takes place in a social environment. In this analogy, the crew represents a form of social environment and consequentially displays its own social rules and practices. The socio- cognitive approach encompasses cognitive elements, such as the conditions that guide working in film industry. The socio- cultural approach explores techniques used in connecting the individuals in a film crew.

In the attempt to achieve compromises between collective and individual intentions, the socio-cultural approach explores communication techniques used to achieve a higher motivation in groups. At the same time, the origin stories address the myths on collaborative relationships between individual workers, crew as a group and Kubrick himself. Kubrick operated with the two social concepts simultaneously, and the constant shifting between them resulted in a mixture of methods and practices used in his collaborations. The film industry is not only a part of the society but functions as a society on its own.

They formed a working relationship that was led by a joint intention. The common intention was represented by attempts to make sense of their specific working world. The individual workers were glued into a crew using a collective effort, a collective intention. Comparing sociocognitive and sociocultural answers. Duke University Press, In the simplest form, this is the intention to create a film. A more complex definition would be the common perception of ideas and concepts in the making of the project.

These intentions have to be communicated in such a way, that each crew member understands them. They then have a choice to follow or not to follow the shared vision. A shared vision socio-cultural approach I begin by breaking the myth of Kubrick as the uncompromising leader of his crew. In fact, Kubrick was a good communicator. When he was with people, they really felt that they were appreciated. He was very interested in what people had to say.

And so I thought, if he tells me to read, I better read it. And I read The Shining in a day. And he rang me the 7 Paul C. Sellors, Collective Authorship in Film. Journal of Aesthetics and Art Criticism [online], Vol. Harris [online], , [www. The latter was a reoccurring practice in forming crews for his projects.

So I went away and said I will speak to you in a few days. I thought about it. I thought about it long and hard. And then, in the end, I said that I would do it. Social capital represents the nature of the relation- ships one builds in the industry. Kubrick was aware of this, employing the being close without being close approach in his telephone conversations.

These tactics were employed to negotiate collaborations but they also gave him suffi- cient control over the production of the film. He would ensure his creative control over a project by following the divide and rule principle. The divide and rule is a strategy for gaining and maintaining power by breaking up larger concentrations into pieces that individually have less power than the ruling one.

Kubrick exercised division of power by giving freedom to an individual worker to express his ideas by leading a smaller unit in the crew, i. The advantage of this approach is not only that it divides the tasks between workers; it also prevents small powers from linking forces by creating smaller collaborations in the form of mentorships.

A small camera crew meant building collaborative relationships in the 10 Brad Schreiber, On Kubrick: Defillippi, Back to the Future in Film: Often they took a form of a student-mentor relationship. And so I got out of doing He was impossible at times and I used to take his guilt onto me, apologizing to actors for something we had done, when I was really apolo- gizing for Stanley. I lost my perspective, and so did he. At this point, a question of power arises. Did collaboration exist or was Kubrick, in fact, the sole ruler of his projects? He did additional photography second camera operator on A Space Odyssey Cook, [online] [www.

If that were the case, the socio-cultural feature of the collective inten- tion would have initiated greater motivation and emotional satisfaction of the group by recognising every individual work to the same extent. The issue with this aim is that, although film productions aspire to do so, the extent to which it occurs in practice is questionable. Actual working practices in film produc- tion can be ambiguous.

To comprehend them, one should observe the real film working practice from a cognitive perspective on crew formations. Learning about the industry requires knowledge of the film production process. The rules refer to various limitations, forming a framework of film industry rules which are implemented by people on directorial positions.

For example, a producer or other financier of the film project implements certain ethical restrictions e. British Board of Film Classifications For instance, BBFC employs legislation regarding allowed work material: If the work as a whole is found to be in breach of the law, then it may be denied a certificate and rejected. The impact the hierarchal order has on the framework of rules in film industry profoundly affects the relationships formed in the process of the film production.

Kubrick manipulated the framework of rules and hierarchies existing in the film industry, too. He was notorious for persisting on his vision, which dictated his behaviour, actions and affected the nature of the relationships he formed in the process of filmmaking. The decision was based on a compromise; the impor- tance of the outcome of a collaborative relationship with Kubrick had for his career outweighed the negative aspects. It follows that film industry, as a business, follows certain conventions in the process of forming working relationships.

I focus on the first act of entering collaboration in film production —the negotiating process between two parties, a process which I understand to be a communication process of a minimum of two people, commonly between the producer and the film worker entering the production crew. Film workers considerably benefit from being aware of the structure of the film production, of the kind of work expected from each specific working position and where their role fits in the collaboration. This knowledge, based on expe- rience, had given him an advantage in negotiating for continuous collabora- tion with Kubrick: I first worked as a sound assistant on The Shining and I helped Kubrick with the making of the foreign versions of The Shining.

He was conscious of its effect on the collaborative environment of the production he was about to enter. Hence, he employed a negotiating technique that resulted in a fruitful collaboration. Knowledge in developing and maintaining relationships by working on his social capital and excellent communication skills made Hunter a good negotiator. It follows, that for negotiations to end productively for both parties a combination of the socio-cognitive and the socio-cultural aspects has to be used.

Communication, specifically conversations, are the basis of negotia- ting. While it is possible for discussions between producers and the potential collaborators to run smoothly, this was not standard practice with Kubrick. The origin stories testify of constant bargaining in negotiating collaborations. The challenge was negotiating the work fees.

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The lists are long and often include a comment from Kubrick on whether the calculated amount should really be as high as it is and how to lower it. At the top of the hierarchy, he had an advantage in negotiating. He exercised his power of decision-making by taking advantage of his hierarchal dominance in the film industry. Some collabora- tors adhered to his conditions and work practice for professional reasons, such as the benefit of the experience for their career. Ken Adam declined future collaborations precisely because he had had previous collaborative experiences with Kubrick. His crew members perceived his demands as a very distinctive form 25 The Stanley Kubrick Archive.

Stanley Kubrick Archive, As we all were. John contributed certainly but I think none of us would stand out and say we were responsible for the look of that movie. The two exemplified unsatisfied collaborators set an example of the effects of the hierarchy in film production on the relationships formed in the work process.

Although many collaborators depicted their experience of working with Kubrick negatively concerning creative freedom, it does not mean that Kubrick imposing his position in the hierarchy always hindered collaboration. Some of the crew members felt uniquely appreciated and treated as genuine colla- borators. I know his methods drove some people nuts. From this point of view, the confusion caused represents a learning lesson for the film workers and, at the same time, justifies the difficulty of breaking the myth of Kubrick, the master controller.

Those Origin stories informed on the various circumstances in which the individuals entered into collaboration with Kubrick, their vision of it and how it affected their perception of the myths that are present in the film industry. By referring to group formation in pre-production as a social process, the already established approaches to studying creativity have been helpful in detecting the moments to focus on.

The myth of Kubrick as a throat-cutting tyrant who is well aware of his status and exploits it to get his way can be broken with the existence of his mentoring work practice. Such ambiguity created confusion and dissatisfaction among workers who thought they understood the working environment of film production. It appears that Kubrick had the knowledge of all the processes taking place in the production and tried to manipulate them to have had his vision realised on the screen. But there are inconsistencies in the development of the relationships, and they can lead to the conclusion that Kubrick not only had the understanding but also practised the idea of collaborating.

To creatively operate he had to —and did— cooperate. Manca Perko University of East Anglia manca. The common perception of Kubrick is that he was a brilliant tyrant with little to no ability to cooperate. The vast information available on the relationships between Kubrick and individual workers on his crew appears to take the form of data given in forms of interviews left to individual inter- pretation. Connecting them and looking from a broader theoretical perspective opens room for debates that have not been addressed from that angle.

I explore the crew formation and indications it had for their career and their attitude towards film industry. Forming a good relationship can undoubtedly result in a good collaboration. But was that the case with Kubrick and how did it work? Keywords Collaboration, crew formation, hierarchy, creative control, autonomy. Looking beyond the myths, in Ljujic, op.

Clarke Collection in the Smithsonian Museum in Virginia, I will shed some light on the collaboration between the director and the writer on A Space Odyssey, using as case histories the key points in the evolution of the plot and the issue over the publication of the book. Artificial Intelligence , to compare the two experiences and see if their attitudes, interests and working methods changed over time.

Collected Essays , London, Voyager, , p. A Space Odyssey, London, Legend, , p. Artificial Intelligence, Adaptation, 8 3 , p. Strangelove, in MacAuley, op. On the strength of such treatment, the project was green-lighted by MGM in early January and in the summer Clarke went back to Colombo present Sri Lanka , while the director moved to Borehamwood, fifteen miles north of London, where the movie that was by then known as A Space Odyssey would be shot The two authors worked well together on the solution of such plot points —the most prominent being, no less, the very ending of the movie.

The novelistic treatment used to sell the project to MGM21 was indeed coherent, but ended rather abruptly: Hunter, From adaptation to cinephilia: Known and Unknown, p. Clarke, Journey Beyond the Stars: A Film Story, Part. A Space Odyssey, Cologne, Taschen, It symbolizes all the new wisdom of the stars. Clarke, A Space Odyssey, p. The key change in the whole plot was suggested by Kubrick; perhaps confident in the potential of adding an element of mystery, he introduced the momentous idea that the real purpose of the mission could be kept a secret to 33 Ibid.

A Space Odyssey, p. Only if you fail to try to make it work. And so in that way you might say that it was rather contrived. A substantial offer to publish the novel had arrived from Delacorte-Dell in early , and Clarke, that had devoted two years on the project delaying other sources of income, and had business activities in Ceylon that were going through financial troubles, felt that he needed the deal closed as soon as possible.

About a Science Fiction Writer!: I go home, say goodnight to the children, have dinner, work on the novel and go to bed around midnight. I do this seven days a week. It is my right to do this and I have repeatedly expressed to you how important I believe the revisions to be. I am certain it will all come out right in the end. I have no options now.

The only difference has been that instead of continual pressure and oblique recriminations there has been an objective understanding of the problem, something that would be greatly appreciated regarding the novel. I have to admire this attitude even when it causes me great inconvenience! Clarke, Son of Dr.

In a groundbreaking experiment, fifty cat residents from Shamley Green, a quaint village in Surrey, UK, are tagged with GPS trackers and collar cams for 24 hours. Collar cam gives a somewhat edgier, unseen insight into a gypsy life on the streets and alleyways, patrolling territories, scaling fences and scavenging for food. With new cases every month, Professor Noel Fitzpatrick is back for a third season to help Britain's most sick and injured pets with cutting-edge veterinary medicine. This cutting-edge veterinary hospital takes life-saving care to a whole new level.

With new cases every month, Professor Noel Fitzpatrick is back for a third season to help Britain's most sick and injured pets. In this episode, Noel pushes the boundaries of his life-saving veterinary medicine when Katie brings in her pure white Aslatian puppy, Ice. Noel uses ground-breaking cell treatment - extracting and growing cartilage cells in the lab and then re-injecting them - to repair the damaged joint. The people of Cornwall are proud of the fact that they do things differently, and the Christmas celebrations in this beautiful part of England have their own unique flavours and sounds.

Home for a while from his world-wide travel adventures, Rick Stein has a chance to enjoy Christmas in his beloved adopted county, where he joins in the ancient festival of Wassailing and cooks his own goose. Alex Polizzi arrives in Sardinia to explore her family roots and discover the rich and diverse culture of this ever-popular destination. She'll be sampling the Cagliari cuisine. Contrary to the celebrations in Kattegat, grief hits Iceland and Floki must now make a fated decision.

Harald's army approaches Wessex and a conspiracy grows against King Alfred in Court. Amirah prepares for her biggest fight yet - against her father - as she trains Lachy to challenge her brother in the ring. Amirah is determined to prove to Sami she belongs in the boxing world. Amirah is determined to prove to Sami she belongs in the boxing world and knows it will take defeating him to do so. Jess hopes to redeem herself in a rematch against the formidable Jinx and while Lachy hopes to make it two from two in his second ever boxing match, he is also is concerned Amirah is taking her personal issues with her father into the ring.

Claire Caitriona Balfe is forced to play a game of cat and mouse with an old adversary as she searches for Young Ian John Bell. The Frasers race through the jungles of Jamaica to prevent the unthinkable. Stefan finds out that his girlfriend Blanka is cheating on him with his best friend Christian. Davor leads Operation Krajina into a new phase. Hanna's determined to meet her infiltrator. Davor leads Operation Krajina into a new phase, but an accidental shooting by Stefan is about to jeopardise the entire operation.

Soon enough, they will cross paths anyway. Now that Hannah has discovered Inez's identity, she immediately wants to get him out and close the investigation. Operation Krajina is about to be put into motion, and the fiendish plan can be stopped. The head of the Mimicas, Davor, disappears. Only Christian knows where to look for him. As her and Masters' criminal trial gets underway, Johnson heads to new York to rescue their book deal. As Art and Nancy discover their conversations at work are being recorded.

As Art and Nancy discover their conversations at work are being recorded, Betty presses Helen to tell her parents about their relationship. As Johnson and Nancy compete for attention from Masters, Libby admits that she's dating again, and Helen goes into labour. Neil Perry guides Poh through his recipe for Taro Crusted Duck with Mandarin Sauce he demonstrates that complicated recipes don't have to be intimidating.

Neil Perry is fast becoming a regular in Poh's Kitchen and there are no prizes for guessing why: Poh and Neil love cooking together and Poh's always eager to grab tips from one of Australia's best chefs. As Neil guides Poh through his recipe for Taro Crusted Duck with Mandarin Sauce he demonstrates that complicated recipes don't have to be intimidating if you break them down into simple steps.

Cooking maestro Heston Blumenthal creates his ultimate feast for Christmas using majestic dishes from history to create his menu. Heston is bored with the usual Christmas fare, so he's going to completely reinvent it to include edible dormouse, venison and tasty snow. In the season finale, Poh and chef Emmanuel Mollois get caught up in the Christmas spirit when they prepare two delicious Yuletide desserts.

As an alternative to the heavy Christmas pudding, Poh bakes a Yuletide chiffon cake, while Emmanuel, crazy about chocolate, makes a traditional French Christmas log. The staff are always full of festive cheer at Christmas. But for Professor Noel Fitzpatrick, it's busier than ever. Adam, a sleigh pulling Alaskan malamute needs both knees replacing with implants. But as he is recovering from his first operation, Adam's other knee begins to fail, and owners Colin and Andrea are forced to make a difficult decision: In the second part of his Christmas special in Cornwall, Rick Stein and his chefs use local ingredients to create a Christmas banquet for all his Cornish friends, including the famous comedian Jethro.

In the second part of his Christmas special in Cornwall, Rick Stein and his chefs use local ingredients to create a Christmas banquet for all his Cornish friends, including the famous comedian Jethro - an old friend who, when they were younger, was a serious adversary on the rugby pitch. With Cornish Christmas music and the occasional glass of Cornish beers and ciders, this is a festive feast guaranteed to get viewers in the best seasonal spirits.

Michael Portillo helps himself to a ukulele lesson in Haddington, birthplace of the Victorian self-improvement guru, Samuel Smiles. Then, there's terror on the tracks in Blackpool as Michael embarks on a new journey across Bradshaw's Britain with his guidebook. Szpilman is forced into the Warsaw Ghetto. Szpilman is forced into the Warsaw Ghetto, but is later separated from his family during Operation Reinhard. From this time until the concentration camp prisoners are released, Szpilman hides in various locations among the ruins of Warsaw.

Set completely in Spain over an intense hour period, Daniel enlists the help of an unexpected ally to further his mission with Otto Ganz. Hector lets Daniel and the neo-Nazis into his Spanish villa and as the others get settled. Daniel downloads an irate Hector. He coerces Hector into playing the part of 'Trevor's boss' after reminding him that he didn't turn him in for his role as Thomas Shaw. Valerie works to obtain intel on the Far Right while Robert's teenage son Noah arrives in Berlin and asks questions.

Meanwhile, Frost agrees to the Ambassador's request to spy on Berlin Station. Poh is exploring sweet and savoury from two very different perspectives and she's invited French chef Emmanuel Mollois to join her to add some twists to the souffle. Small Business Secrets shines a light on the small business owners and innovators playing a vital role in Australia's economic growth. Luke visits the floating villages of Chau Doc and Cai Be to cook some intriguing local dishes.

He starts his journey on the Hue River where he cooks a caramelised basa fish dish. He starts his journey on the Hue River where he cooks a caramelised basa fish dish atop a floating fish farm. Luke then heads onto land to see, first hand, how the famous Chau Doc roast pork is done. After checking out the dragon boat races, he cooks his mum's roast pork dish before heading deeper into the Mekong Delta, to Cai Be. International Figure Skating Technical divers journey deep below the frigid waters of the Baltic to reveal the secrets of U, the Nazi submarine whose fate has remained a mystery for over seven decades.

In early , the Nazi submarine U is lost and the body of its captain is found frozen on the island of Foglo. For nearly 70 years the U-boat's fate has remained a mystery. Now, after over a decade of painstaking research and underwater exploration, the mystery of the U has been solved by the members of Badewanne, a Finnish diving team. While searching, they dispel the myth of the Louhi, a Finnish minelayer that some thought was sunk by its own mine and discover a type of submarine some say was never built. This group of highly skilled technical divers journeys deep below the frigid waters of the Baltic to reveal the secrets of the Nazi sunken sub.

Simon Schama starts his meditation on colour and civilisation with the great Gothic cathedrals of Amiens and Chartres. He then moves to 16th century Venice. Beginning with Peter's perilous grassroots movement in the wake of Christ's crucifixion, we'll follow Christianity's dramatic journey through the time of the Crusades. Through blood, battle, and faithful perseverance, we will watch as the pope evolves from the spiritual leader of an outlawed cult to one of the most powerful men on earth.

In the 2,year history of the papacy, only four men have ever stepped down. And in times when more than one living man has laid claim to the thrown of St. The resignation of a modern pope and peaceful transfer of power has shown the world what the position means today and how it has evolved in an ever-changing world.

Laura Henderson buys an old London theater and opens it up as the Windmill, a performance hall which goes down in history for, among other things, its all-nude revues. Eleven-year-old Jack is rushed in after being hit by a motorbike while walking to his first day at secondary school. Jack managed to push his friend out of the way, but he was thrown up in the air and banged his head, fracturing his skull. Bangkok is filled with different street food vendors on every corner. Luke stumbles across hidden stalls and learns how to cook Thai Coconut Pudding. Luke stumbles across hidden stalls and characters like Miaw, who teaches him how to cook a traditional Thai sweet dessert, Thai Coconut Pudding.

Locals queue for the beset Thai Red Pork in town; and Luke meets his friend Ged at a local floating market where she buys a variety of locally bought seafood for him to taste. Walking down one of the oldest streets in Bangkok, Luke's lured to a tasty satay stall by the aromas from the charcoal grills. Live coverage of the Premier League. Chelsea takes on Leicester at Stamford Bridge. Kick off at 2. Tasting Australia' is one of the largest food festivals in Australia and is held annually in Poh's home state South Australia.

This year Poh enjoys the privilege of being part of the festival and takes the opportunity to borrow one of its main attractions, Italian food legend, Antonio Carluccio. In the kitchen Antonio demonstrates quintessential Italian peasant cuisine. In , the wedding of Trish and Ken was featured on Everyone Loves a Wedding, which explored multicultural marriages. Eleven years later, they tell us about the challenges and joys of building a family and life together.

Live coverage of the Women's National Basketball League. Melbourne takes on Dandenong. Steered by his Bradshaw's guide, Michael begins this leg of his journey in Merseyside, where he feels the heat of modern glassmaking in St Helen's. He discovers how the techniques invented in the Victorian era to construct buildings such as the Crystal Palace have evolved and are powering a new architectural revolution. It is a word that sends a chill down the spine: This was the name of the research institute set up to prove the scientific foundation of Nazi ideology. Driven by a scientific megalomania, the race for new discoveries led the institution to carry out countless acts of barbarism.

Stored on hundreds of microfilms which are only now available, the reports from this institution reveal the gruesome secrets of science according to Hitler. David Olusoga's second film explores the artistic reaction to imperialism in the 19th century. David shows the growing ambivalence with which artists reacted to the idea of progress - both intellectual and scientific - that underpinned the imperial mission and followed the Enlightenment and the Industrial Revolution. A powerful insight into the High Court's decision to grant native title to the Wik people in , and the dramatic political and cultural fallout that followed.

This landmark feature documentary surrounds the historical court decision in by the High Court of Australia, granting native title to the Wik People of Cape York, and the demonisation that followed at the hands of politicians and media. Part detective story and part personal travelogue, this series takes viewers on a deeply emotional and unpredictable journey as a group of adoptees search for answers about where they have come from. Part detective story and part personal travelogue, this series takes viewers on a deeply emotional and unpredictable journey as the contributors search for answers about where they have come from, and who they could have been.

Some will find answers, and others will be left with greater questions about their adoption and the truth of their past. Naomi follows Zlatko to where he's cornered Adnan; Adnan jumps to his death just as Milan arrives to the scene. Milan and Naomi reconnect after twenty years. Naomi follows Zlatko to a derelict factory where Adnan is cornered. In order to avoid Zlatko having power over Milan, Adnan steps off the roof to his death - just as Milan arrives. Naomi and Milan meet again, after years of separation. They piece together th epast and their connection from twenty years ago.

Milan wants to know why his father and brother both died when Naomi appeared. Milan tells Naomi he has nothing left to live for now that Adnan is dead, except to kill Zlatko. Mokhtar tells Khalil they've started a gang war. Naomi tries to save Milan from himself and prevent him from killing Zlatko; she appeals to Tom and tries to convince him to bring Zlatko and Guillaume to justice.

Mokhtar tells Khalil they've started a gang war and must eliminate the rival gang leaders by becoming the new Manu and Roman to keep the peace in Marseille. The leading global interactive content studio, Digital Domain is the official virtual reality partner of the Nobel Peace Prize Concert, live streaming the concert and showing highlights in VR.

The Nobel Peace Prize Concert debuted in and has grown into one of the world's preeminent events. China's last empire, the Qing, reigned from It began in violence and war, invaders became emperors. Among 3 generations of family rule, Kangxi was the greatest. China's last empire, the Qing, lasted from to It began in violence and war as the Manchus swept down from the north, but invaders became emperors, with three generations of one family ruling the country. Among them, Michael Wood argues, was China's greatest emperor - Kangxi.

Some of your favourite moments so far from Luke Nguyen's culinary and cultural journey through the UK. Destination Flavour Christmas brings together the extraordinary talents of the SBS Food chefs to create a rich celebration feast that truly reflects Australia's cultural - and culinary - diversity. Destination Flavour Christmas brings together the extraordinary talents of the SBS Food chefs to create a rich celebration feast that truly reflects Australia's cultural diversity.

In this one-hour special television event, Destination Flavour presenter Adam Liaw draws on Asian traditions and childhood Christmas memories to create a mouth-watering spread for family and friends. As he prepares for the celebrations, the SBS Food stars share their Christmas stories and recipes from kitchens around Australia and the world. In this episode, week-old cockapoo puppy Henry is rushed into Fitzpatrick Referrals with a fractured neck.

Grille des canaux

A freak garden accident where he collided with a flower-pot has left him paralysed and fighting for his life. Professor Noel Fitzpatrick is forced to perform a risky, and truly inventive, procedure to re-align the fracture in an attempt to save his life. Having returned from filming his odyssey all around the Far East, Rick Stein was inspired to come up with the answer to one of the biggest cooking dilemmas facing us all at Christmas time.

Having returned from filming his odyssey all around the Far East, Rick Stein was inspired to come up with the answer to that big cooking dilemma facing us all at Christmas time - what to do with that cold turkey? A colourful exploration that charts every detail of the Royal Family's Christmas celebrations at Sandringham as Prince Harry and fiance Meghan Markle join them together for the very first time. A magical journey like no other - an amazing two hour trip through breathtaking snow-white scenery, filmed from the perspective of a traditional reindeer driven sleigh. A magical journey like no other, an amazing two hour trip through breathtaking snow-white scenery, filmed from the perspective of a traditional reindeer driven sleigh, travelling through the forests and across the frozen lakes of Lapland.

Without music or narration, the only sound is the crunching of snow and the gentle tinkle of sleigh bells. Unhurried and mesmerising, the ride is a unique opportunity to experience the life of the indigenous Sami people and witness their traditions such as ice fishing and camping out on the tundra. Sit back and indulge in the beautiful but simple treasures of this seasonal treat. Join the SBS football team for highlights and previews, plus the best action, news and exclusive interviews from around the football world. Mischievous Amelie lives alone and works in a cafe.

When she finds a trove of toys hidden for 40 years behind a baseboard in her apartment, she sets out to find the owner. This impulse of generosity sparks more benevolent acts, and along the way, she discovers love. This engaging and beautiful film has delighted audiences around the world. Two murders occur, leaving only one single witness - who happens to be a dog. Ghosts haunt the family castle and prevent anyone from identifying the murderer. Our commissioner will have to deal with a lot before this is over.

While Avril takes a stroll on a cliff, a stranger falls to his death only to die in her arms. In his pocket she finds a picture of a very beautiful woman. Everyday accident or deliberate murder? Not long after, Avril narrowly escapes with her life when someone tries to kill her off too.

Commissioner Laurence gets on the case: And who is this mysterious woman in the photo? A treasure hunt ensues, one which seems to only lead to dead ends. Our two heroes will have to risk their life in order to crack this case open. Signout Register Sign in.