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Index 313 Abel, Marco, 102 Academy Awards: A Clockwork Orange nominated for, 148; Dr. Strangelove nominated for, 41; 2001 nominated for, 43 Adams, Richard, 193 adaptation of literature, 7; artistic license and deviation from originals, 14–16, 44–46, 69, 102, 144, 149, 162, 185, 191, 200–201, 236–37, 262–63, 289, 294; authorship of screenplays, 13–17 Adorno, Theodor, v, 5, 10, 25n11 Aesthetic Theory (Adorno), 10 Agel, Jerome, 123 agency, 108, 109, 111–18, 119 A.I. (2001), 11, 71, 196, 203; antihumanism in, 101; critical reception of, 101; screenwriting for, 15; selection of project, 48; Spielberg’s involvement in, 49, 101 Aldiss, Brian, 48, 67 Alexander I, Tsar of Russia (character in Napoleon), 78–79 Alex de Large (character in A Clockwork Orange), 19, 108–9, 115–16, 118, 295; behavior modiWcation or aversion therapy, 108–9, 149, 154–56, 158–60, 161–62, 194; Kubrick on, 44; mechanization of, 108–9, 153–56; subjectivities of, 148, 150–58 Alice Harford (character in Eyes Wide Shut), 24, 103, 111, 116–17, 254, 262, 263, 269, 281–82, 287–88, 295 Aliens (1979), 235 allegory: Dr. Strangelove as, 197; Eyes Wide Shut as, 106, 285–86, 290; Fear and Desire as, 7; Wlms as political , 139; 2001 as, 197 ambiguity, 103, 137–38; in 2001, 141; in Eyes Wide Shut, 294–95; lack of resolution and, 105, 107–8; open narrative and, 9–10; power and manipulation of, 25; in The ShortTimers , 219 American New Wave: Kubrick’s inXuence on, 53 Anderegg, Michael, 225 Animal Mother (character in Full Metal Jacket), 92–93, 107 antihumanism, 101–2, 119 Apocalypse Now (1979), 55 Index note: Characters in Wlms are listed under Wrst name or military rank (“Alice Harford” rather than “Harford, Alice”). Illustrations are indicated with italic page numbers. “apparatus” theory of Wlm, 21 Ararat (2002), 201 Arbus, Diane, 208 Arthur Schnitzler as a Psychologist (Reik), 259 artistic control: collaboration and, 49; of early projects, 32, 33; Wlm industry and, 190, 251; improvisation and, 11, 15–16; of Lolita, 39–40; organic evolution of projects and, 15–16, 57; over Clarke’s novel, 43; “ownership” of screen stories and, 36; of The Shining, 57; telling details, 281. See also collaboration; writing credits artistic license, 7 Art of Love (Ovid), 284 “Aryan Papers,” 186, 196 audience: alienation of, 7, 69, 114, 115; commercial Wlms as transparent to, 8; copycat crimes committed by, 150; director as spectator, 187, 250; identiWcation with characters, 114–17, 150, 166, 220; MPAA and, 253; narrative structures as obstacle to engagement of, 103–5; nonlinear construction and engagement of, 36, 50–51n11; as privileged spectator, 21; reception theory, 10–11; The Shining and, 114, 115, 187–88; spectatorship within the Wlms, 136–37, 153–54; 2001 and, 122–23, 141–42; as voyeurs, 21, 136 Auschwitz, 18, 188, 191 auteur theory, 8, 16–17; Kubrick as auteur, 41. See also artistic control The Authentic Death of Hendry Jones (Neider), 38 aversion therapy. See behavior modiWcation The Awakening of Jacob (Penderecki), 185, 211 BackWre (Baritz), 218 ballet, 129–30 Baritz, Loren, 218, 228, 229 Barry Lyndon (1975), 14, 56, 126, 191, 282; allusion to art works in, 166, 169–71, 171, 182, 183; architecture as symbolic in, 173, 175; Barry Lyndon as character in, 14, 45, 167–69; cinematography of, 19–20, 169, 171; Classicism vs. genre paintings in, 171–72; critical reception of, 19; eighteenth-century art and, 19–20, 165–83; family in, 168, 172, 173, 178, 180, 181, 182; lighting and, 171; mechanization of man in, 208; Nora Brady in, 170–71; prostitution in, 168, 176; spectatorship in, 136; stills from, 171, 172, 173, 175, 176, 177–81, 183; Venus imagery in, 173, 175, 176, 176; visual puns in, 170 Barry Lyndon (a.k.a. Redmond Barry, character in Barry Lyndon), 14, 45, 167–69 Bartók, Béla, 209–10 “Bat” Guano (character in Dr. Strangelove ), 97, 100n18 Baudry, Jean-Louis, 21 Baum, Vicki, 199 Baxter, Peter, 22 Bazin, André, 3, 8 Beethoven, Ludwig, 264 Begley, Louis, 48, 196 behaviorism, 19 behavior modiWcation: in A Clockwork Orange, 149, 154–56, 158–60, 161–62, 194 The Benediction (Chardin), 172, 174 Bentham, Jeremy, 153 Berenson, Marisa, 45 Beria, Levrentri, 64, 73n2 Bettelheim, Bruno, 40, 46, 201 Bill Harford (character in Eyes Wide Shut), 17, 24, 103, 104, 111, 113, 116–17, 246–49, 263–64, 267, 268, 274, 281–82, 289, 292–93 black comedy, 40, 41, 52n19, 292 blacklist, 38 Blade Runner...

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