Stanley Kubrick is one of the most revered directors in cinema history. His 13 films, including classics such as Paths of Glory, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, and The Shining, attracted controversy, acclaim, a devoted cult following, and enormous critical interest. With this comprehensive guide to the key contexts - industrial and cultural, as well as aesthetic and critical - the themes of Kubrick's films sum up the current vibrant state of Kubrick studies. Bringing together an international team of leading scholars and emergent voices, this Companion provides comprehensive coverage of Stanley Kubrick’s contribution to cinema. After a substantial introduction outlining Kubrick's life and career and the film's production and reception contexts, the volume consists of 39 contributions on key themes that both summarise previous work and offer new, often archive-based, state-of-the-art research. In addition, it is specifically tailored to the needs of students wanting an authoritative, accessible overview of academic work on Kubrick.

This collection of essays discusses Jews in pornography and the adult film industry, sexual propaganda, Woody Allen, homosexuality and Judaism, lesbian Yiddish poetry, the Jewish American Princess, sex and the British novel, and more.

As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven's Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the 'New Wave proper'. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of 'New Wave, New Hollywood', and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967.

This is a fascinating new study of the neoconservative momevent's leading thinker and magazine: Norman Podhoretz and "Commentary". "Norman Podhoretz and Commentary Magazine" is a unique study of the neoconservative movement's leading thinker and magazine: Norman Podhoretz and "Commentary". In this book, Nathan Abrams examines the origins, rise, and fall of neoconservatism and argues that much of what has been said about it in the last six years is the result of willful distortion and exaggeration by both the neocons and their opponents. With ten books and 35 years as Editor of the magazine "Commentary", Podhoretz was a powerful force who helped shape neoconservatism. In fact, neoconservatism was almost Podhoretz's personal ideology, one in which he promoted his own ideas for the future direction of America. However, in spite of being described as 'the conductor of the neocon orchestra', Podhoretz is often ignored by current assessments of the neocon movement. Based on archival and unpublished materials, including Podhoretz's private papers, this is the first detailed and critical study of neoconservatism to focus exclusively on Podhoretz and "Commentary". A notable contribution to the study of conservatism in America, this timely book will appeal to anyone who seeks to understand better the movement that has shaped contemporary American politics.

Twenty years after its release, Stanley Kubrick's Eyes Wide Shut remains a complex, visually arresting film about marriage, jealousy, domesticity, adultery, sexual disturbance, and dreams. This was the final enigmatic work from its equally enigmatic creator. It has left an indelible mark on our popular culture and remains as relevant as ever. Much maligned and much misunderstood when it first came out, Eyes Wide Shut has since been the subject of an animated debate and discussion among critics, fans and academics. It has been explored from a wide variety of disciplines and methodological perspectives. This collection proposes to bring together scholars and fans from diverse disciplinary backgrounds and those who worked on the film to explore Eyes Wide Shut’s legacy, discuss its impact, and consider its position within Kubrick’s oeuvre and the wider visual and socio-political culture.

When released in 2003, The Room, an obscure, self-financed relationship drama by an eccentric self-taught filmmaker named Tommy Wiseau, should have been completely forgotten. Yet nearly two decades later, "the worst movie ever made"—as many a critic would have it—has become the most popular cult film since The Rocky Horror Picture Show. In You Are Tearing Me Apart, Lisa!, contributors explore this priceless cultural artifact, offering fans and film buffs critical insight into the movie's various meanings, historical context, and place in the cult canon. Even if by complete accident, The Room touches on many issues of modern concern, including sincerity, authenticity, badness, artistic value, gender relations, Americanness, Hollywood conventions, masculinity, and even the meaning of life. Revealing the timeless, infamous power of Wiseau's The Room, You Are Tearing Me Apart, Lisa! is a deeply entertaining deconstruction of an original work of all-American failure.

The 1979 film Alien has left an indelible mark on popular culture. Directed by Ridley Scott, at the time known primarily for making advertisements, and starring then-unknown actor Sigourney Weaver in the lead role, it transcended its humble origins to shock and disturb audiences upon its initial release. Its success has led to three direct sequels, two prequels, one “mashup� franchise, a series of comic books, graphic novels, novelizations, games, and an enormous and devoted fanbase. For forty years, Alien and its progeny have animated debate and discussion among critics and academics from a wide variety of fields and methodological perspectives. This book brings together scholars from diverse disciplinary backgrounds to explore Alien through a contemporary lens. The chapters here demonstrate the extent to which its effects and reception are deeply multifaceted, with the Alien franchise straddling the lines between “high� and “low� culture, playing with generic categories, crossing media boundaries, and animating theoretical, critical, and political debates. Chapters touch on female agency and motherhood, the influence of H.R. Giger, the viscerality of Alien's body horror, the narrative tradition of the Female Gothic, the patriarchal gaze in the Alien video games, and the rise of in-universe online marketing campaigns. In so doing, the volume aims to debate Alien's legacy, consider its current position within visual culture, and establish what the series means—and why it still matters—forty years since its birth.

This is the first full history of the Jews in Scotland who lived outside Edinburgh and Glasgow. The work focuses on seven communities from the borders to the highlands: Aberdeen, Ayr, Dundee, Dunfermline, Falkirk, Greenock, and Inverness. Each of these communities was of sufficient size and affluence to form a congregation with a functional synagogue and, while their histories have been previously neglected in favor of Jewish populations in larger cities, their stories are important in understanding Scottish Jewry and British history as a whole. Drawn from numerous primary sources, the history of Jews in Scotland is traced from the earliest rumors to the present.

Shaman, paragon, God-mode: modern video games are heavily coded with religious undertones. From the Shinto-inspired Japanese video game Okami to the internationally popular The Legend of Zelda and Halo, many video games rely on religious themes and symbols to drive the narrative and frame the storyline. Playing with Religion in Digital Games explores the increasingly complex relationship between gaming and global religious practices. For example, how does religion help organize the communities in MMORPGs such as World of Warcraft? What role has censorship played in localizing games like Actraiser in the western world? How do evangelical Christians react to violence, gore, and sexuality in some of the most popular games such as Mass Effect or Grand Theft Auto? With contributions by scholars and gamers from all over the world, this collection offers a unique perspective to the intersections of religion and the virtual world.

Shaman, paragon, God-mode: modern video games are heavily coded with religious undertones. From the Shinto-inspired Japanese video game Okami to the internationally popular The Legend of Zelda and Halo, many video games rely on religious themes and symbols to drive the narrative and frame the storyline. Playing with Religion in Digital Games explores the increasingly complex relationship between gaming and global religious practices. For example, how does religion help organize the communities in MMORPGs such as World of Warcraft? What role has censorship played in localizing games like Actraiser in the western world? How do evangelical Christians react to violence, gore, and sexuality in some of the most popular games such as Mass Effect or Grand Theft Auto? With contributions by scholars and gamers from all over the world, this collection offers a unique perspective to the intersections of religion and the virtual world.

The 1979 film Alien has left an indelible mark on popular culture. Directed by Ridley Scott, at the time known primarily for making advertisements, and starring then-unknown actor Sigourney Weaver in the lead role, it transcended its humble origins to shock and disturb audiences upon its initial release. Its success has led to three direct sequels, two prequels, one “mashup� franchise, a series of comic books, graphic novels, novelizations, games, and an enormous and devoted fanbase. For forty years, Alien and its progeny have animated debate and discussion among critics and academics from a wide variety of fields and methodological perspectives. This book brings together scholars from diverse disciplinary backgrounds to explore Alien through a contemporary lens. The chapters here demonstrate the extent to which its effects and reception are deeply multifaceted, with the Alien franchise straddling the lines between “high� and “low� culture, playing with generic categories, crossing media boundaries, and animating theoretical, critical, and political debates. Chapters touch on female agency and motherhood, the influence of H.R. Giger, the viscerality of Alien's body horror, the narrative tradition of the Female Gothic, the patriarchal gaze in the Alien video games, and the rise of in-universe online marketing campaigns. In so doing, the volume aims to debate Alien's legacy, consider its current position within visual culture, and establish what the series means—and why it still matters—forty years since its birth.

When released in 2003, The Room, an obscure, self-financed relationship drama by an eccentric self-taught filmmaker named Tommy Wiseau, should have been completely forgotten. Yet nearly two decades later, "the worst movie ever made"—as many a critic would have it—has become the most popular cult film since The Rocky Horror Picture Show. In You Are Tearing Me Apart, Lisa!, contributors explore this priceless cultural artifact, offering fans and film buffs critical insight into the movie's various meanings, historical context, and place in the cult canon. Even if by complete accident, The Room touches on many issues of modern concern, including sincerity, authenticity, badness, artistic value, gender relations, Americanness, Hollywood conventions, masculinity, and even the meaning of life. Revealing the timeless, infamous power of Wiseau's The Room, You Are Tearing Me Apart, Lisa! is a deeply entertaining deconstruction of an original work of all-American failure.

Launched in 1945, Commentary magazine became one of America's most celebrated periodicals. Under the editorship of Elliot E. Cohen, it developed into the premier postwar journal of Jewish affairs attracting a readership far wider than its Jewish community origin. This book is the first detailed and critical study of Commentary magazine during its formative years. Abrams traces the development of the key issues that have occupied its first fifty years: the construction of a new American Jewish identity, Judaism, the Holocaust, the State of Israel, and the Cold War. This account of the chief and most influential journal of Jewish thought, opinion, and culture in America will complete the picture of postwar American Jewish and general intellectual life. It is based upon a wide range of sources including archival and other material never before published in the context of Commentary magazine.

Twenty years since its release, Stanley Kubrick's Eyes Wide Shut remains a complex, visually arresting film about domesticity, sexual disturbance, and dreams. It was on the director's mind for some 50 years before he finally put it into production. Using the Stanley Kubrick Archive at the University of the Arts, London, and interviews with participants in the production, the authors create an archeology of the film that traces the progress of the film from its origins to its completion, reception, and afterlife. The book is also an appreciation of this enigmatic work and its equally enigmatic creator.

Twenty years since its release, Stanley Kubrick's Eyes Wide Shut remains a complex, visually arresting film about domesticity, sexual disturbance, and dreams. It was on the director's mind for some 50 years before he finally put it into production. Using the Stanley Kubrick Archive at the University of the Arts, London, and interviews with participants in the production, the authors create an archeology of the film that traces the progress of the film from its origins to its completion, reception, and afterlife. The book is also an appreciation of this enigmatic work and its equally enigmatic creator.

The postwar period in America witnessed a tremendous consumer boom that introduced thousands of new items into the mass market. The contributors to Containing America challenge our conceptions of Cold War culture by examining a range of such products - clothes, food, television, magazines, radio, and other forms of entertainment - in order to shed light on how Cold War discourses actually influenced the practices of ordinary behaviour. Their essays address very different sectors of American society - in terms of race, class, ethnicity, sexuality and gender - thus emphasising the multiplicity, diversity, and differing nature of the voices that emerged in cultural production and consumption during the 1950s. Containing America points out directions for further research and provides a fresh approach for scholars, students, and others interested in the culture of the Cold War of the 1950s.>

As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven's Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the 'New Wave proper'. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the 'legacy' of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of 'New Wave, New Hollywood', and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967.

What does the term "neoconservative" mean? Who are we talking about and where did they come from? Abrams answers those very questions through a detailed and critical study of neoconservatism's leading thinker, Norman Podhoretz, and the magazine he edited for 35 years, Commentary. Podhoretz has been described as "the conductor of the neocon orchestra" and through Commentary Podhoretz powerfully shaped neoconservatism. Rich in research, the book is based upon a wide range of sources, including archival and other material never before published in the context of Commentary magazine, including Podhoretz's private papers. It argues that much of what has been said about neoconservatism is the product of willful distortion and exaggeration both by the neoconservatives themselves and their many enemies. From this unique perspective, Abrams examines the origins, rise, and fall of neoconservatism. In understanding Podhoretz, a figure often overlooked, this book sheds light on the origins, ideas, and intellectual pedigree of neoconservatism.

Stanley Kubrick is generally acknowledged as one of the world’s great directors. Yet few critics or scholars have considered how he emerged from a unique and vibrant cultural milieu: the New York Jewish intelligentsia.   Stanley Kubrick reexamines the director’s work in context of his ethnic and cultural origins. Focusing on several of Kubrick’s key themes—including masculinity, ethical responsibility, and the nature of evil—it demonstrates how his films were in conversation with contemporary New York Jewish intellectuals who grappled with the same concerns.  At the same time, it explores Kubrick’s fraught relationship with his Jewish identity and his reluctance to be pegged as an ethnic director, manifest in his removal of Jewish references and characters from stories he adapted.   As he digs deep into rare Kubrick archives to reveal insights about the director’s life and times, film scholar Nathan Abrams also provides a nuanced account of Kubrick’s cinematic artistry. Each chapter offers a detailed analysis of one of Kubrick’s major films, including Lolita, Dr. Strangelove, 2001, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut. Stanley Kubrick thus presents an illuminating look at one of the twentieth century’s most renowned and yet misunderstood directors.