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Full Description
Ebook available to libraries exclusively as part of the JSTOR Path to Open intiative.
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.
Contents
Introduction: Stanley Kubrick and Women
Photography and Documentaries
Noir: Killer's Kiss, The Killing, and Lolita
Marital Antagonisms: Lolita, The Shining, and Eyes Wide Shut
Antagonisms: A Clockwork Orange
Marriage and War: Spartacus, Napoleon, Barry Lyndon, Eric Brighteyes
War: Fear and Desire, Paths of Glory, Full Metal Jacket, Aryan Papers
Technology: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, 2001: A Space Odyssey, and A. I. Artificial Intelligence
Women and Labour
Conclusion
