Many of Stanley Kubrick's films are often interpreted as cold and ambiguous. Whether viewing Barry Lyndon, 2001, The Shining, or Eyes Wide Shut, there is a sense in which these films resist their own audiences, creating a distance from them. Though many note the coldness of Kubrick's films, a smaller number attempt to explore exactly how his body of work elicits this particular reaction. Fewer still attempt to articulate what it might mean to "feel" Stanley Kubrick's films. In The Kubrick Facade, Jason Sperb examines the narrative ambiguity of the director's films-from the voice-over narration in early works, including the once forgotten Fear and Desire-to the blank faces of characters in his later ones. In doing so, Sperb shows how both devices struggle in vain to make sense of the chaos and sterility of the cinematic surface.
Jason Sperb teaches in the Department of Communication & Culture at Indiana University, Bloomington. He has contributed to such publications as Quarterly Review of Film and Video, Biography, Studies in the Literary Imagination, and Bright Lights Film Journal.
Part 1 Preface Part 2 Acknowledgments Chapter 3 1. Introduction: Experiencing Faces and Voices Chapter 4 2. We're All Islands: Seeing and Hearing the Country of the Mind in Fear and Desire Chapter 5 3. Taking Life Too Seriously: Imposing Narrative Authority from Killer's Kiss to Lolita Chapter 6 4. He'll See the Big Board: Narration and the Magic of Words in Dr. Strangelove Chapter 7 5. I Can Feel It: Sounds, Intensities, and Subjectivities in 2001 Chapter 8 6. A Kubrickian Look: Narrating in a Voiceless Voice-Over Chapter 9 7. Their Eyes Were Wide Shut: Bill Harford as Failed Narrator Chapter 10 8. Conclusion: Sensing Stanley Kubrick Part 11 Filmography Part 12 Selected Bibliography Part 13 Index Part 14 About the Author