[Original works from the Stanley Kubrick Estate.
Stanley Kubrick and Geoffrey Unsworth developed a system for calculating from the grey tones of b/w Polaroids the right lighting for filming
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Kubrick on view - Catalogue
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The catalogue accompanying the exhibition Stanley Kubrick brings together essays by authors from the fields of film and theater studies, art history, photography, architecture, design, and music. The book offers interdisciplinary essays while also addressing each of Kubrick's films, which are analyzed from different angles. Interviews as well as pictures and documents from the estate add to the essays, and a detailed filmography and discography complete the publication.
With words of greeting from Martin Scorsese und Christiane Kubrick and a preface by Jan Harlan.

The catalogue is published in an English and a German version. It is available either at the counter of Deutsches Filmmuseum and during the exhibition in Berlin at the counter of the Martin-Gropius-Bau and in the bookshop Walther König or via internet.

Catalogue "Stanley Kubrick" (english). Kinematograph no. 20, 2004, 304 pages with many illustrat. ISBN 3-88799-069-2 (english version), € 30,-. Order >>>

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Alexandra von Stosch and Rainer Crone start off the catalogue with a reflection on the photographic work of young Kubrick, while Bernd Kiefer provides a comparative study of the early films. Wilhelm Roth explains the political discussions around PATHS OF GLORY, while Winfried Günther assesses Kubrick's visual handwriting in the "commissioned" work SPARTACUS, and Sabine Nessel pursues the question "How did they ever make a movie of Lolita?" Boris Hars-Tschachotin investigates the War Room in DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB and provides an extensive interview with Ken Adam while Daniel Kothenschulte presents Weegee's photographs from the film's set. Design and branding in 2001: A SPACE ODYSSEY are the themes examined by Volker Fischer and Bernd Eichhorn respectively; Kubrick's longtime assistant Anthony Frewin contributes information about a prologue cut out of the film. Thomas Elsaesser in his essay presents Kubrick as an "evolutionary engineer of images" with a specific reference to A CLOCKWORK ORANGE. Marisa Buovolo, focusing on costume designs, discusses the "language of violence" of that film. An art historical analysis of BARRY LYNDON by Ralf Michael Fischer precedes two essays on THE SHINING: looking at the different drafts of the screenplay Ursula von Keitz reconstructs Kubrick's adaptation of Stephen King's novel while the Finnish architect Juhani Pallasmaa directs our attention to the labyrinthine rooms of the Overlook Hotel. Georg Seeßlen discusses the theme of war in FULL METAL JACKET. Hans-Thies Lehmann describes the "film-theater" EYES WIDE SHUT while Edgar Reitz recounts his unusual experience directing the German dubbing of Kubrick's last film. The never realized projects Napoleon and Aryan Papers are presented for the first time by Eva-Maria Magel and Ronny Loewy respectively who based their work on materials from the Estate. Chris Baker recalls how Kubrick commissioned sketches from him for A.I. ARTIFICIAL INTELLIGENCE, which later found their way into Steven Spielberg's realisation of the film. Essays by Christian Appelt and Bernd Schultheis round off the catalogue by examining Kubrick's innovative use of technical film apparatus and soundtracks.

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