Built Environments, Circularity, and World Building Through a close reading of primary and secondary archival sources I propose that, in adapting Kubrick’s work, Spielberg films are both palimpsests (as Hutcheon describes the term) in the sense that the films both recall and (artificially) recreate the memory of Kubrick’s work through deliberately referential use of imagery, iconography, space and architecture, and yet remain profoundly auteuristic and Spielbergian. Both the film and the 1996 treatment (the only one to contain notes by Spielberg) contain certain aspects of holocaust imagery. Is HAL lying and finding out if he can get away with it? was centred around its apparent sentimentality, particularly in relation to the ending in which the ‘Specialists’, some 2000 years into the future, allow David one more ‘happy day’ with his ‘mother’ Monica, at the end of which she dies and David lies down, finally able to sleep contentedly. It also demonstrates in its scale, space and aesthetic the influence of set designer and Kubrick collaborator Ken Adam (Dr Strangelove and Barry Lyndon). It causes the burning desire to find that missing centre, to crack the code and relieve the tension of not-knowing. One way or another, it’s now an undeniable fact that Kubrick films generate obsession. Kubrick told Siskel that he was not anti-American and thought that America was a good country, though he did not think that Ronald Reagan was a good president. Raphael was equally puzzled by Kubrick's trashing of Schindler's List. Earlier in the film David is framed through a circular aperture at the dinner table and he later appears again framed through yet another corresponding aperture in Professor Hobby’s study, only this time its circularity is broken (like the family unit). There’s some debate about the exact meaning of the scene. Baker visually connects them through a range of designs, sketches and drawings, which began under Kubrick and were appropriated and adapted by Spielberg. Kubrick and Spielberg also share a sense of displacement, of being ‘adrift’. After Raphael mentioned Schindler’s List, Kubrick replied: “Think that's about the Holocaust? As far as Kubrick's views on welfare and taxation, according to Ian Watson, Kubrick said of the pre-1997 Labour Party that "If the Labourites ever get in, I’ll leave the country." Where these also form points of reference for Peter Krämer, I will use them to offer a close analysis of the presence and role of space and architecture, in the film and the construction of Kubrickian and Spielbergian filmic environments. Even the Louis XVI style bed room in which Bowman lives and ages before his transformation into the ‘star-child’ has been recognized as possibly either a constructed by aliens observation zoo-like room, a space of confinement or a dreamlike vision of a regal deathbed … too much regularity and bureaucratic sensibility to reflect well upon those who constructed the space. [9] In 1952, Kubrick (then at the start of his career) worked as a second unit director on Mr Lincoln, a five-part TV bio-documentary, written by James Agee, on the life of Abraham Lincoln. ", Finally, Katharina Kubrick Hobbs was asked by alt.movies.kubrick if Stanley Kubrick believed in God. What they don't understand, they call "god"... Everything we know about the universe reveals that there is no god. Kubrick's more mature works are more pessimistic and suspicious of the so-called innate goodness of mankind, and are critical of stances based on that positive assessment. as decidedly ‘post Kubrickian’. This I believe is the reason all of Kubrick’s movies, from 2001 to Eyes Wide Shut, have initially been received with disappointment, and only later been accepted as 'classics.'. [19] Ibid, p. 58 The political and religious views of filmmaker Stanley Kubrick (1928–1999) have been subjects of speculation during his lifetime and after his death. [20] Ibid, p. 63 But if even a super-computer can lie, isn’t it better to ignore what anyone else thinks? Spielberg’s trademark shooting stars accompany the director’s credit, harnessing these old fashioned elements to his vision. forests) that anchor the film to its (sinister) fairy tale narrative framework and embolden it. [17] Such a summary prompts immediate thoughts of the locale for the duel between Redmond and Lord Bullingdon in Barry Lyndon – the cavernous, poetic, and cathedral-like space of the tithe barn with its shaft of light, painterly arrangement of figures and doves in flight; or the sterility and minimalism of the spaceship interiors in 2001 around which Poole jogs, like a hamster in a wheel, between coffin-like cryochambers; or the monochrome space of the ‘War Room’ in Dr Strangelove, with its ordered, circular arrangement. Artificial Intelligence”, Adaptation, Vol.8 No.3 (August 2015) p. 373 While early films like Paths of Glory (1957) seem to reflect an overtly progressive ideology, later films such as Dr. Strangelove (1964) and A Clockwork Orange (1971) can be construed as equally critical of the political left and right. as an adaptation of Aldiss’s story at a “stretch” [3] (due to the distance created by Kubrick’s numerous collaborations with different authors and its prolonged and agonised development history). There are only 46 minutes of dialogue scenes in the film, and 113 of non-dialogue. offers a contrasting range of overlapping spaces, from the institutional to the parodic and postmodern to the dream space (which dominates the final act of the film as David meets ‘The Blue Fairy’ and finally goes ‘to the place where dreams are made’). Questions of authorship raised by A.I.’s extended development also confer a layer of meta-textuality upon the film. In A.I. Here the computer generated, parodic and artificial landscape ironically recalls that of Barry Lyndon in its immersive and immediate painterly aesthetic, staging, and mise en scène.

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