Stanley Kubrick Produces

Fenwick, James

doi:10.36019/9781978814912

Cited by 8 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…86 The unanticipated increase in 2001's budget nearly bankrupted MGM, the company that financed it. 87 There were existing precedents, therefore, that suggest the budget for Boorman's The Lord of the Rings would eventually have to increase if it had been produced.…”

Section: Casting Design and Budgetmentioning

confidence: 99%

“…The cost-cutting measures had led companies to cancel a slate of planned productions from their books between 1969 and 1970, while also turning down planned epics. 95 This included Stanley Kubrick's Napoleon, an epic war film that UA refused to fund. 96 Boorman was pitching The Lord of the Rings to UA as just that: an epic war film, but given the industrial contexts, along with the fact that UA had publicly named Boorman's current release with them -Leo the Lastas a financial disappointment, it was increasingly unlikely that The Lord of the Rings would now receive financing.…”

Section: Unmadementioning

confidence: 99%

“…102 Interestingly, Boorman was considering shooting in Eastern Europe, incentivised by government subsidies, as were other producers at that time, including Spielberg (who shot Schindler's List in Eastern Europe) and Kubrick (his abandoned Aryan Papers was to have been shot in a variety of Eastern European countries). 103 Much of what Boorman was considering was merely speculation and he was waiting on confirmation from Eberts that he was interested. Unfortunately, Eberts agreed with Boorman's critical assessment.…”

Section: Unmadementioning

confidence: 99%

See 2 more Smart Citations

John Boorman’s the Lord of the Rings: A Case Study of an Unmade Film

Fenwick¹

2021

Historical Journal of Film, Radio and Television

Self Cite

View full text Add to dashboard Cite

In 1970, United Artists (UA) announced that John Boorman was to develop a film adaptation of J. R. R. Tolkien's The Lord of the Rings. Boorman collaborated on the screenplay adaptation throughout the first half of 1970 with Rospo Pallenberg, as well as hiring a small team of designers and production managers to assist in the development of a provisional budget. However, archival documentation makes it clear that UA never committed to a production of the project, only an exploratory adaptation. This article uses the John Boorman papers, housed in Indiana University's Lilly Library, to demonstrate how Boorman's work on adapting The Lord of the Rings is an instrumental case study on the wider film industrial process of unproduction, in which projects are more typically financed for development rather than production. It concludes that greater archival research is required in order to reframe scholarly understanding of the industrial processes of Hollywood and other film industries in order to raise questions about why so few film projects ever enter active production.In November 1969, United Artists (UA) announced a film adaptation of J. R. R. Tolkien's The Lord of the Rings (1954-55), the epic six-book, three-volume fantasy that had become, by the end of the 1960s, a cultural phenomenon and a publishing sensation in its paperback form. There had been ongoing attempts by film companies (MGM, Disney, UA), producers (Samuel Gelfman, Gabriel Katzka), and even musicians (Arlo Guthrie and The Beatles among them) in the 1960s to acquire the filming rights to The Lord of the Rings. As such, the

show abstract

Section: Casting Design and Budgetmentioning

confidence: 99%

Section: Unmadementioning

confidence: 99%

Section: Unmadementioning

confidence: 99%

See 1 more Smart Citation

John Boorman’s the Lord of the Rings: A Case Study of an Unmade Film

Fenwick¹

2021

Historical Journal of Film, Radio and Television

Self Cite

View full text Add to dashboard Cite

show abstract

“…In 1979, as James Fenwick and David Mikics have uncovered, he considered reworking Traumnovelle as a story about a porn film actress, a "mystery girl" like Linda Lovelace or Marilyn Chambers, who wants to marry Bill, have a family, and to make him a good wife. 71 Kubrick's notes conclude: "Wife plays porno cassette with her at end to stimulate him." 72 Furthermore, through the 1970s and 1980s, the film was veering towards an erotic thriller which blended the transgressive sexuality of film noir with the development of softcore cinema.…”

Section: Crypto-jewesses In Lolita and Eyes Wide Shutmentioning

confidence: 99%

Kubrick's Jewesses Onscreen and Offscreen

Abrams¹

2021

Shofar

View full text Add to dashboard Cite

Hawliau Cyffredinol / General rightsCopyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights.• Users may download and print one copy of any publication from the public portal for the purpose of private study or research.• You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 17. Jan. 2022 Kubrick's Jewesses Onscreen and OffscreenWhat value is there in considering the Jewess in relation to the art of Stanley Kubrick given that he never explicitly represented Jews and further that he favored homosocial environments that largely excluded women? When they do appear, Kubrick is not known for his positive portrayals of women. They are certainly largely peripheral in his films or relegated to the margins, limited to the roles of mothers, children, and whores with minimal subjectivity. 1 For example, his 1957 Paths of Glory featured only one female in a role where all she is required to do is sing to a room of leering men. Likewise, Dr. Strangelove, Or How I Stopped Worrying and Learned to Love the Bomb (1964), was noted for its complete lack of women other than one scantily dressed secretary who doubles up as a Playboy magazine centerfold. Kubrick was aware of this lack, admitting in 1966, "If I ever have a part, a decent part for a woman, which for some reason I never seem to write into films, she would certainly do it." 2 This article will initiate a discussion of how the figure of the Jewess onscreen, as well as the Jewish women with whom Kubrick worked, helps us to understand better Kubrick's work and working processes. It will do so by utilizing the latest insights in the emerging field of Kubrick Studies. First, by engaging with the growing work on Kubrick's Jewishness, as well as on Kubrick and feminism. 3 Second, by referencing the "new historical turn," which is based on exploiting material now deposited in his archive at the University of Arts, London, it will explore Kubrick's films from a biographical perspective, in particular his personal and professional relationships with Jewish women. While it would be strange that in such a Jewish-dominated industry as Hollywood if Kubrick hired noJewish personnel, at the same time, it will be argued it is significant that several actors and other creative personnel employed by Kubrick were Jewish.While seemingly an arbitrary choice, I have chosen Jewish women both as a continuation of my investigation into Kubrick's Jewishness and how it expressed itself in his films. It is also a realistic and tightly defined first step towards recoveri...

show abstract

“…First, valorization, which is the implicit deification of the figure of study, one brought about by the lingering attachment to auteurism (2002,15). Like Hitchcock studies, Kubrick studies is attempting to decenter Kubrick, focusing more on his collaborations and the historical contexts of his productions (see Broderick 2017;Krämer 2011Krämer , 2012Fenwick 2021;McAvoy 2015;Perko 2019, among others). But despite this decentering process, anniversary symposia and associated edited collections bring with them what Gottlieb calls an "aura conferring" effect (2002,15).…”

mentioning

confidence: 99%

Problems with Kubrick: reframing Stanley Kubrick through archival research

Fenwick¹

2022

New Review of Film and Television Studies

View full text Add to dashboard Cite

Through three archival case studies, this article explores problematic aspects of Stanley Kubrick's relations of production and the power underlying his role as a film producer by the 1960s and 1970s. The case studies explore Kubrick's practices in the casting of women, his attitude toward trade union regulation and labor relations, and his relationship with politicians in the UK in the 1970s and his attempts to lobby for more favorable tax conditions. It makes a critical intervention in Kubrick studies to argue that the use of the Stanley Kubrick Archive is vital in future research to reframe scholarly understanding of Kubrick. The filmmaker instigated a 'myth' about himself that continues to dominate, a self-promotional strategy that has obscured the relations of production on his films. Empirical evidence is required to reveal new perspectives on his attitudes and professional behavior. The article concludes that wider comparative research is required in Kubrick studies to ascertain the level of Kubrick's uniqueness or otherwise in these relations of production, or whether they are indicative of wider systemic behaviors across the American and British film industries in the twentieth century.

show abstract

Stanley Kubrick Produces

Cited by 8 publications

References 0 publications

John Boorman’s the Lord of the Rings: A Case Study of an Unmade Film

John Boorman’s the Lord of the Rings: A Case Study of an Unmade Film

Kubrick's Jewesses Onscreen and Offscreen

Problems with Kubrick: reframing Stanley Kubrick through archival research

Contact Info

Product

Resources

About