Kerstin Stutterheim – författare

Directing Spartacus (1960) had a significant impact on Stanley Kubrick’s career. Although the director wasn’t involved in preproduction, the film clearly shows his stylistic influence. It was his first production for a major studio and he had to work with international stars. Moreover, the film was adapted by Dalton Trumbo from the novel Spartacus by Howard Fast; both had been blacklisted, and Trumbo had to work secretly until Kirk Douglas revealed his identity, so Spartacus is understood to be the film that ‘broke the blacklist’. Now it is a cult movie, widely discussed by fans and admirers but not receiving equal attention from an academic perspective.This collection of essays explores the film from a wide variety of angles: through its production history and the socio-historical context of its release; through the theme of gender, power, and sexuality; through close analysis in comparison with other epic movies, the literature preceding the film, and the rest of Kubrick’s oeuvre; and through its soundtrack and sonic style. Some chapters draw extensively on primary sources, especially those available at the Stanley Kubrick Archive; others apply a theoretical perspective. The volume’s interdisciplinary approach demonstrates how diverse methods can coexist and support each other to create a deeper knowledge of this important film.

What makes a good movie? How can one analyse a film accordingly without primarily interpreting it? Dramaturgy can enrich film understanding, for those who make films, as well as for those who want to understand better why they are made how. Film Dramaturgy supports the creative process of filmmaking, especially the work of the authors, directors and producers. Students and professionals who are involved in the creation of a film also benefit from this knowledge. The understanding of dramaturgy supports film analysis and film criticism too. In some regions of the world, dramaturgy is well established; in other parts, it is less familiar.This book provides a basic introduction to modern film dramaturgy. It emerges from academic research drawn from professional practice. It addresses students, scholars, colleagues, filmmakers and all professionals involved in making films, videos, audio-visual time-based media productions.

This book explores the ways in which the political and social power structures between filmmaker and protagonist are manifested in the aesthetics of documentary film. Using a synthesis of filmmaking practice and critical theories from the fields of cultural studies and political philosophy, the research devises methodological approaches to the analysis of documentaries in light of the political and material conditions of their emergence. By exploring filmmaking practice and placing it in the context of wider theories pertaining to issues of power structures and representation, it sheds light on the different aspects which must be considered when approaching the analysis of a documentary film for its ideological and political content.