Joy McEntee – författare

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.It is a commonplace to say that Stanley Kubrick’s cinema is a world of men created by a man for men. And yet, as Kubrick and Women argues, women are central to Kubrick’s films, if often only as paradoxically phobic objects of desire. The centrality of women is well camouflaged, to be sure, by Kubrick’s focus on male fear. As Michael Herr observed, it takes a great respect for women to make them as dangerous as Kubrick sometimes did.Kubrick and Women responds to a question asked by Stella Louis: ‘what if women were the main character(s) in Stanley Kubrick’s films?’. It argues that Kubrick cannot comfortably be labelled either a feminist or a misogynist. The book does not damn Kubrick for misogyny nor rescue him from accusations of it but mobilizes Tania Modleski’s insight about Hitchcock, ‘the misogyny and the sympathy actually entail one another’, and applies it to Kubrick. This is, obviously, to yoke together contradictions, but this yoking creates an unease and ambiguity that renders complex truths about the relationships between men and women.

Kubrick and Race investigates race and racism in Stanley Kubrick’s oeuvre. At first glance, Kubrick’s films are very white, but his work with race is complex. Sometimes he addressed race covertly, indirectly, in hidden ways, or in the background, so that race becomes a palimpsest that is visible through the foreground story. Did Kubrick repress and deny racial inequities? Do his works condone and participate in racism, or did he represent it as a lived reality? This volume asks these questions, opening a discussion that is long overdue. Operating from a clear understanding of the contemporary context, the book spans past, present, and future, offering readers a chance to witness – afresh – ways in which Kubrick and his prolific work allow one to criss-cross academic disciplines as varied as communication, literature, psychiatry, media, film, and Black studies. This collection of essays opens new routes to and from Kubrick, in and out of the academy, convincingly and exhaustively.

This book traces the intertextual genealogy behind Netflix’s new series Ripley, directed by Steve Zaillian, and offers a critical examination of Tom Ripley’s enduring appeal across different media. As the series quickly climbs Netflix’s international charts, this volume provides a timely and insightful contribution to the Ripleyverse, exploring the character’s complex moral and sexual dimensions in today’s cultural context. McEntee investigates Ripley’s role within the televisual antihero genre, engaging with theories from Jason Mittell’s Complex TV and Margrethe Bruun Vaage’s The Antihero in American Television. While Andrew Scott’s portrayal of Ripley aims to generate empathy, this book contends that traditional frameworks for understanding antiheroes are insufficient. Instead, it introduces Eric Leake’s notion of “difficult empathy” as a more appropriate model for analyzing Scott’s Ripley, offering a fresh perspective on the character’s moral ambiguity. This contrasts sharply with Anthony Minghella’s 1999 adaptation, where Matt Damon’s Ripley elicited a more straightforward emotional response. Readers will discover a nuanced discussion of how Ripley both adheres to and subverts the conventions of the antihero genre and comments self-reflexively on the process of adaptation. The book invites scholars and students of television studies, film, and literature to engage with these themes, providing a rich resource for understanding the evolving landscape of media narratives. Whether you are a scholar of media studies or a curious reader intrigued by the complexities of modern narratives, this book promises to deepen your understanding of the cultural significance of Tom Ripley’s latest iteration.