This issue of POVwinona concludes my analysis of the work of Stanley Kubrick. The visual essay above examines Kubrick’s work through the lens of the auteur theory as posited by Andrew Sarris in 1962–a theory that rose among critics and scholars at the very moment Kubrick established himself as arguably the most important and influential auteur of the 20th century.
The essays in this issue examine Kubrick’s output from 1968-1999. First is 2001: A Space Odyssey and A Clockwork Orange, where Kubrick’s sci-fi masterpiece would define the genre going forward, and his adaptation of Burgess’ novel further push the envelope of sex and violence in social satire. Next, Kubrick’s cinematic innovations would continue with the period drama Barry Lyndon and the psychological horror film The Shining. Kubrick would employ specially-created lenses and unique natural lighting in Barry Lyndon, then pioneer the use of the Steadicam in The Shining. The final essay examines how Kubrick fulfilled his vision of reflecting society as he saw it with Full Metal Jacket and Eyes Wide Shut, his final examination of sex and death.
Kubrick made only six films in his final thirty years and died just days after delivering the final cut for Eyes Wide Shut. He was as careful and exacting of any auteur during his era. His approach to film maker with an uncompromising style would inspire and influence countless filmmakers during and after his time, forever changing the boundaries of genre, adaptation, and auteurship.
In this issue:
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