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Narrative and Stylistic Patterns in the Films of Stanley Kubrick
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Product Details
Author:
Luis M. García Mainar
Format:
Paperback
Pages:
268
Publisher:
Boydell & Brewer Inc. (June 24, 1999)
Imprint:
Camden House
Language:
English
Audience:
Professional and scholarly
ISBN-13:
9781571132659
ISBN-10:
1571132651
Weight:
13.76oz
Dimensions:
6" x 9"
File:
TWO RIVERS-PERSEUS-Metadata_Only_Perseus_Distribution_Customer_Group_Metadata_20260701163413-20260701.xml
Folder:
TWO RIVERS
List Price:
$36.95
Country of Origin:
United States
Series:
European Studies in North American Literature and Culture
Case Pack:
20
As low as:
$28.45
Publisher Identifier:
P-PER
Discount Code:
A
Overview
A critical study of the films of Stanley Kubrick, one of the great directors of the century.
García Mainar's critical study of the films of the late Stanley Kubrick includes analysis of all but his last work, Eyes Wide Shut, and offers both a formal analysis of the films based on style and narrative pattern, and atheoretical, postmodernist approach to ideas presented in the films. García Mainar is particularly concerned with analyzing the relevance of spectacle in Kubrick's films, seeing it as a disruptive mechanism that can call into question the value and necessity of communication. He identifies different kinds of spectacle in the films, and proceeds to a detailed examination of these different forms in 2001 A Space Odyssey, Barry Lyndon, and Full Metal Jacket.
Luis M. García Mainar teaches English at the University of Zaragoza, Spain.
García Mainar's critical study of the films of the late Stanley Kubrick includes analysis of all but his last work, Eyes Wide Shut, and offers both a formal analysis of the films based on style and narrative pattern, and atheoretical, postmodernist approach to ideas presented in the films. García Mainar is particularly concerned with analyzing the relevance of spectacle in Kubrick's films, seeing it as a disruptive mechanism that can call into question the value and necessity of communication. He identifies different kinds of spectacle in the films, and proceeds to a detailed examination of these different forms in 2001 A Space Odyssey, Barry Lyndon, and Full Metal Jacket.
Luis M. García Mainar teaches English at the University of Zaragoza, Spain.
