The catalogue includes essays by experts of film and theater studies, art history, photography, architecture, design, and music. The book offers interdisciplinary essays while also addressing each of Kubrick's films, which are analyzed from different angles. Interviews as well as pictures and documents from the estate add to the articles, and a detailed filmography and discography complete the publication. With words of greeting from Martin Scorsese und Christiane Kubrick and a preface by Jan Harlan, the catalogue starts with a reflection on the photographic work of young Kubrick followed by a comparative study of the early films. Kubrick's visual handwriting in the "commissioned" work SPARTACUS is assessed, the question "How did they ever make a movie of Lolita?" gets pursued. The War Room in DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB is inverstigated and Weegee's photographs from the film's set are represented. Design and branding in 2001: A SPACE ODYSSEY are the themes examined furtheron; Kubrick's longtime assistant Anthony Frewin contributes information about a prologue cut out of the film. Another essay presents Kubrick as an "evolutionary engineer of images" with a specific reference to A CLOCKWORK ORANGE. An art historical analysis of BARRY LYNDON precedes two essays on THE SHINING: looking at the different drafts of the screenplay Kubrick's adaptation of Stephen King's novel is reconstructed while attention gets directed to the labyrinthine rooms of the Overlook Hotel. Moreover, the theme of war in FULL METAL JACKET and the "film-theater" in EYES WIDE SHUT get discussed. The never realized projects NAPOLEON and ARYAN PAPERS are presented for the first time. Essays examining Kubrick's innovative use of technical film apparatus and soundtracks round off the catalogue.
Kinematograph no. 20, 2004, 304 pages with many illustrat, 1.230g. ISBN 3-88799-069-2 (English Version).
