Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-7

Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-x

Researching and writing are more gratifying and exciting if you have the luck to exchange ideas with enthusiastic and clever scholars, such as Dr. Stacey Abbott and Dr. Caroline Bainbridge (Roehampton University), and if you find yourself in a stimulating environment. ...

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Introduction

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pp. 3-14

Discussing Stanley Kubrick’s adaptations could seem to be a challenge because, although the director adapted novels and short stories, his films are among the furthest from the written medium. In particular, since 2001: A Space Odyssey (USA and UK, 1968), his films (i.e., A Clockwork Orange [USA and UK, 1971], ...

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Chapter 1: A History of Kubrick Adaptations

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pp. 15-33

The first Kubrick documentary short, Day of the Fight (USA, 1951), is based on a director’s pictorial that was published on January 18, 1949, in Look magazine, about a day in the life of boxer Walter Cartier. The screenplay is by Robert Rein (Phillips and Hill, 2002: 74). ...

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Chapter 2: Plot Construction: Ellipses and Enigmas of Unrelated Scenes

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pp. 34-55

As mentioned in the Introduction, many other critics read Kubrick’s body of work through oppositions. What remains unclear is the use of the expression “dualities of meaning” and the result of the struggle between these meanings. For example, does chaos disrupt order or do they coexist and, if so, how? ...

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Chapter 3: Plot Construction: A Chaotic Geometry

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pp. 56-84

The unrelated sequences which characterize the plot construction of Kubrick’s adaptations are, on the one hand, inserted in symmetrical syuzhet structures, in which the end mirrors the beginning, as in A Clockwork Orange, Barry Lyndon, and Eyes Wide Shut, and/or in plots strongly ordered into parts, ...

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Chapter 4: Music, Dance, and Dialogue

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pp. 85-114

Claudia Gorbman claims that, in classical narrative sound films, music occupies a background role in comparison with other elements, such as characters’ actions and dialogue, which usually aid in the progression of the story. ...

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Chapter 5: Dreamy Worlds

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pp. 115-141

A Clockwork Orange, Barry Lyndon, The Shining, and Eyes Wide Shut seem to be shrouded in dreamy atmospheres. The director’s first concern does not seem to have been to realistically depict the extradiegetic world, but, rather, to break the illusion of reality, to create a diegetic world as far as possible from the extradiegetic world, ...

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Chapter 6: Artificiality, Modernism, and the Sublime

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pp. 142-182

As discussed in the previous chapter, Kubrick’s protagonists are usually passive spectators and listeners in their diegetic worlds. They often remain entrapped in a dreamy world, governed by the director’s aesthetic rules, in which the extradiegetic world is often cited. Indeed, the films deliberately exhibit their awareness of being works of art in several ways. ...

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Conclusion

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pp. 183-186

Stanley Kubrick’s last six adaptations are characterized by some structural and stylistic patterns. In terms of plot construction, they are constituted by tableaux vivants and/or unrelated episodes that are usually separated by ellipses and full of unexplained mysteries. Their syuzhet is symmetrical and/or ordered into unlinked parts, and often the end recalls the beginning. ...

Appendix

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pp. 187-198

Notes

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pp. 199-204

Bibliography

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pp. 205-212

Filmography

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pp. 213-218

Index

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pp. 219-230