Bloomsbury Companion to Stanley Kubrick

I.Q. Hunter is Professor of Film Studies at De Montfort University, UK, author of Cult Film as a Guide to Life (Bloomsbury, 2016) and British Trash Cinema (BFI, 2013), editor of British Science Fiction Cinema (1999), and co-editor of 11 other books. He has published widely on popular cinema. Nathan Abrams is Professor of Film Studies at Bangor University, UK, author of Stanley Kubrick: New York Jewish Intellectual (2018), The New Jew in Film (2012), Studying Film (2010) and editor of Hidden in Plain Sight (2017). He is currently working on a book about Eyes Wide Shut.

This Companion stands out as one of the most substantial overviews of “Kubrick Studies” currently available. For students new to his work, it provides a wide-ranging introduction to Kubrick, employing a comprehensive array of film studies methods—from aesthetics, adaptation studies, and auteur analysis, to identity politics, industry analysis, and archival research. Just as importantly, contributors offer groundbreaking re-evaluations of Kubrick’s films and reputation. An indispensable volume.

• List of illustrationsNotes on contributorsAcknowledgmentsNathan Abrams (Bangor University, UK) and I.Q. Hunter (De Montfort University, UK)Introduction Part One: IndustryIntroduction Chapter 1: Kubrick and Production James Fenwick (Sheffield Hallam University, UK)Chapter 2: Kubrick and Authorship Rod Munday (Aberystwyth University, UK)Chapter 3: Kubrick and Adaptation Graham Allen (University College Cork, Ireland)Chapter 4: Kubrick and Collaboration Manca Perko (University of East Anglia, UK)Chapter 5: Kubrick and Britain Matthew Melia (Kingston University, UK)Chapter 6: Kubrick and TranslationSerenella Zanotti (Roma Tre University, Italy)Chapter 7: Kubrick and the Critics Gregory Frame (Bangor University, UK)Part Two: Sound and ImageIntroduction Chapter 8: Kubrick and Photography Philippe Mather (University of Regina, Canada)Chapter 9: Kubrick and Framing Robert P. Kolker (University of Maryland, USA)Chapter 10: Kubrick and Formalism Rodney F. Hill (Hofstra University, USA)Chapter 11: Kubrick and Acting Ernesto R. Acevedo-Muñoz (University of Colorado in Boulder, USA)Chapter 12: Kubrick and Art Dijana Metlic (University of Novi Sad, Serbia)Chapter 13: Kubrick and ComposingKate McQuiston (University of Hawai‘i at Manoa, USA)Chapter 14: Kubrick and Music Christine Lee Gengaro (Los Angeles City College, USA)Part Three: Gender and IdentityIntroduction Chapter 15: Kubrick and Feminism Karen A. Ritzenhoff (Central Connecticut State University, USA)Chapter 16: Kubrick, Gender, and Sexuality Mick Broderick (Murdoch University, Australia)Chapter 17: Kubrick, Marriage, and Family Joy McEntee (University of Adelaide, Australia)Chapter 18: Kubrick and Jewishness Marat Grinberg (Reed College, USA)Chapter 19: Kubrick and the HolocaustGeoffrey Cocks (Albion College, USA)Part Four: Thematic ApproachesIntroduction Chapter 20: Kubrick, Optimism, and Pessimism Dominic Lash (King's College London, UK)Chapter 21: Kubrick and Philosophy Jerold J. Abrams (Creighton University, USA)Chapter 22: Kubrick and Time Elisa Pezzotta (University of Bergamo, Italy)Chapter 23: Kubrick and Madness Lawrence Ratna (Barnet Enfield and Haringey Mental Health Trust, UK)Chapter 24: Kubrick and PsychoanalysisNathan Abrams (Bangor University, UK) and I.Q. Hunter (De Montfort University, UK)Chapter 25: Kubrick and Childhood Nathan Abrams (Bangor University, UK)Chapter 26: Kubrick and Genre Jeremi Szaniawski (University of Massachusetts, Amherst, USA)Part Five: Researching KubrickIntroduction Chapter 27: Kubrick and the Archive Georgina Orgill and Richard Daniels (University of the Arts London, UK)Chapter 28: Kubrick’s Research and ReadingCatriona McAvoy (University of the Arts London, UK)Chapter 29: Kubrick and the Unmade Peter Krämer (De Montfort University, UK) and Filippo Ulivieri (screenwriter, Italy)BibliographyFilmographyIndex