Whatever people think about Kubrick's work, most would agree that there is something distinctive, even unique, about the films he made: a coolness, an intellectual clarity, a critical edginess, and finally an intractable ambiguity. In an attempt to isolate the Kubrick difference, this book treats Kubrick's films to a conceptual and formal analysis rather than a biographical and chronological survey.

As Kubrick's cinema moves between the possibilities of human transcendence dramatized in 2001: A Space Odyssey and the dismal limitations of human nature exhibited in A Clockwork Orange, the filmmaker's style "de-realizes" cinematic realism while, paradoxically, achieving an unprecedented frankness of vision and documentary and technical richness. The result is a kind of vertigo: the audience is made aware of both the de-realized and the realized nature of cinema. As opposed to the usual studies providing a summary and commentary of individual films, this will be the first to provide an analysis of the "elements" of Kubrick's total cinema.

While memory is one of the most fascinating faculties of consciousness, it is also one of the most mysterious. Is it memory-our own marvelous personal computer or data base-that brings us the intense feelings prompted by a certain object or situation? Drawing on an expansive array of sources, from microbiology to cosmology, Ovid to Proust, Egyptology to the cinema, Philip Kuberski leads us on a brave and beguiling exploration of memory. He enables us to see it as a worldly process in which individuals both remember and are remembered, all in a network of associations that join our bodies, personal and cultural myths, and aesthetic and literary experiences. His essays will provide a tantalizing and thoughtful read for those interested in literature, psychology, biology, anthropology, and philosophy. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1992.

While memory is one of the most fascinating faculties of consciousness, it is also one of the most mysterious. Is it memory-our own marvelous personal computer or data base-that brings us the intense feelings prompted by a certain object or situation? Drawing on an expansive array of sources, from microbiology to cosmology, Ovid to Proust, Egyptology to the cinema, Philip Kuberski leads us on a brave and beguiling exploration of memory. He enables us to see it as a worldly process in which individuals both remember and are remembered, all in a network of associations that join our bodies, personal and cultural myths, and aesthetic and literary experiences. His essays will provide a tantalizing and thoughtful read for those interested in literature, psychology, biology, anthropology, and philosophy. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1992.

Whatever people think about Kubrick's work, most would agree that there is something distinctive, even unique, about the films he made: a coolness, an intellectual clarity, a critical edginess, and finally an intractable ambiguity. In an attempt to isolate the Kubrick difference, this book treats Kubrick's films to a conceptual and formal analysis rather than a biographical and chronological survey. As Kubrick's cinema moves between the possibilities of human transcendence dramatized in 2001: A Space Odyssey and the dismal limitations of human nature exhibited in A Clockwork Orange, the filmmaker's style "de-realizes" cinematic realism while, paradoxically, achieving an unprecedented frankness of vision and documentary and technical richness. The result is a kind of vertigo: the audience is made aware of both the de-realized and the realized nature of cinema. As opposed to the usual studies providing a summary and commentary of individual films, this will be the first to provide an analysis of the "elements" of Kubrick's total cinema.