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Considered by critics to be Stanley Kubrick's masterpiece, Barry Lyndon has suffered from scholarly and popular neglect. Maria Pramaggiore argues that one key reason that this film remains unappreciated, even by Kubrick aficionados, is that its transnational and intermedial contexts have not been fully explored. Taking a novel approach, she looks at the film from a transnational perspective -- as a foreign production shot in Ireland and an adaptation of a British novel by an American director about an Irish subject. Pramaggiore argues that, in Barry Lyndon, Kubrick develops his richest philosophical mediation on cinema's capacity to mediate the real and foregrounds film's relationship to other technologies of visuality, including painting, photography, and digital media.
By combining extensive research into the film's source novel, production and reception with systematic textual analysis and an engagement with several key issues in contemporary academic debate, this work promises not only to make a huge impact in the field of Kubrick studies, but also in 1970s filmmaking, cultural history and transnational film practice.
Contents
Acknowledgements
Introduction
Chapter One: Barry Lyndon and Aesthetic Time
Chapter Two: Adapting Barry Lyndon: A Tale of Two Auteurs
Chapter Three: Paternal Crisis, or: History as Succession
Chapter Four: Transnational Topographies: Barry Lyndon as Irish Odyssey
Chapter Five: The Rhythm and the Rest: Painting, Cinema, Stillness
Chapter Six: Untimely Cinema: Barry Lyndon and the 1970s
Bibliography
Index
