INFLUENCES

Alexander Walker, in his book Stanley Kubrick Directs, notes that Kubrick often mentioned Max Ophüls as an influence on his moving camera, especially the tracking shots in Paths of Glory.[ His "fascination with the fluid camera" of Ophuls, writes critic Gene D. Phillips, was also used effectively in 2001: A Space Odyssey. Kubrick described this effect in discussing Ophuls' films le Plaisir and The Earrings of Madam De: "the camera went through every wall and every floor."He once named Ophüls' Le Plaisir his favorite film. However, Ophüls himself derived this technique from his early work as assistant with director Anatole Litvak in the 1930s, whose own cinematography style is described as "replete with the camera trackings, pans and swoops which later became the trademark of Max Ophuls."

Geoffrey Cocks sees the influence of Ophüls as going beyond this to include a sensibility drawn to stories of thwarted love and a preoccupation with predatory men. Critic Robert Kolker sees evident influence of Welles on the same moving camera shots, while biographer Vincent LeBrutto states that Kubrick consciously identified with Welles.LeBrutto sees much influence of Welles' style on Kubrick's The Killing, "the multiple points of view, extreme angles, and deep focus" and on the style of the closing credits of Paths of Glory, and Quentin Curtis in The Daily Telegraph describes Welles as " great influence, in composition and camera movement." One particular film of John Huston, The Asphalt Jungle, sufficiently impressed Kubrick as to persuade him he wanted to cast Sterling Hayden in his first major feature The Killing.
Walker states that Kubrick never acknowledged Fritz Lang as an influence on him, but holds that Lang's interests are analogous to Kubrick's with regard to an interest in myth and "the Teutonic unconscious". Michael Herr's memoir Kubrick states that Kubrick was deeply inspired by G. W. Pabst. In particular Pabst had for several decades also considered adapting Schnitzler's Traumnovelle, the basis of Eyes Wide Shut, although Pabst had been unable to come up with a suitable approach.
As a young man, Kubrick also was fascinated by the films of Russian filmmakers such as Eisenstein and Pudovkin. Kubrick also as a young man read Pudovkin’s seminal theoretical work, Film Technique which argues that editing makes film a unique art form, which needs to be effectively employed to manipulate the medium to its fullest. Kubrick recommended this work to others for years to come. Thomas Nelson describes this book as "the greatest influence of any single written work on the evolution of private aesthetics".
Russian documentary film maker Pavel Klushantsev made a groundbreaking film in the 1950s entitled Road to the Stars, which is believed to have significantly influenced Kubrick's technique in 2001: A Space Odyssey, particularly with regard to its accurate depiction of weightlessness and rotating space station. Indeed Encyclopedia Astronautica describes some scenes from 2001 as a "shot-for-shot duplication of Road to the Stars". Specific comparisons of shots from the two films have been analyzed by filmmaker Alessandro Cima. A 1994 issue of American Cinematographer states "When Stanley Kubrick made 2001: a Space Odyssey in 1968, he claimed to have been first to fly actor/astronauts on wires with the camera on the ground, shooting vertically while the actor's body covered the wires" but observes that Klushantsev had actually preceded him in this.
Kubrick was also a great admirer of the films of Bergman, Vittorio De Sica, Jean Renoir, and Federico Fellini, but the degree of their influence on his own style has not been assessed. In an early interview with Horizon magazine in the late 1950s, Kubrick stated, "I believe Ingmar Bergman, Vittorio De Sica and Federico Fellini are the only three filmmakers in the world who are not just artistic opportunists. By this I mean they don't just sit and wait for a good story to come along and then make it. They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them."


Late in life, Kubrick became enamored with the works of David Lynch, being particularly fascinated by Lynch's first major film Eraserhead, which he asked cast members of The Shining to watch to establish the mood he wanted to convey.

FILM CAREER

In 1951, Kubrick`s friend Alex Singer persuaded him to start making short documentaries for "the March of Time", a provider of newsreels to movie theatres.

Kubrick agreed, and shot the independently financed "Day of the Fight" in 1951. The film notably employed a reverse tracking shot, which would become one of  Kubrick`s signature camera movements. although is distributor went out of business that year,  Kubrick has been said to have sold "Day of the Fight" to RKO Pictures for a profit of 100 dollars, although  Kubrick himself said he lost 100 dollars in Jeremy Bersntein Interview with Stanley  Kubrick in 1966. Inspired by  this early success  Kubrick quit his job at Look Magazine and began working on his second short documentary " Flying Padre" (1951), funded by RKO. a third short film, "The Seafarers" (1953) was filmed just after his first feature " Fear and Desire" in order to recoup costs. It was a 30-minute promotional film for the the Seafarers`s International Union and was Kubrick`s first color film.

Early Life

Stanley Kubrick was born on July 26, 1928, at the Lying-In Hospital in Manhattan, New York, the first of two children born to Jewish parents, Jacques (Jacob) Leonard Kubrick (1901–85) and his wife Sadie Gertrude (née Perveler; 1903–85). His sister, Barbara Mary Kubrick, was born in 1934. Jacques Kubrick, whose parents and paternal grandparents were Jewish of Austrian, Romanian and Polish origin, was a doctor. At Stanley's birth, the Kubricks lived in an apartment at 2160 Clinton Avenue in The Bronx.

Kubrick biographer, Geoffrey Cocks, writes that although Kubrick descended from eastern European Jews, and was raised in a Jewish neighborhood in New York City, his family was not religious, although his parents had been married in a Jewish ceremony. When critic Michel Ciment asked him in 1980 whether he had a religious upbringing, Kubrick replied "No, not at all." He had no bar mitzvah and apparently did not attend synagogue. Although after his death, both his daughter and wife stated that "He did not deny his Jewishness, not at all." His daughter noted that he wanted to make a film about the Holocaust, to have been called Aryan Paper; and spent years researching the subject. Most of his friends and early photography and film collaborators were Jewish, and his first two marriages were to daughters of recent Jewish immigrants from Europe.

A friend of Kubrick's family notes that although his father was a prominent doctor, "Stanley and his mom were such regular people. They had no airs about them. . . . His mother was so down to earth, she was lovely." As a boy, he was considered "bookish" and generally uninterested in activities in his Bronx neighborhood. According to a friend, "When we were teenagers hanging around the Bronx, he was just another bright, neurotic, talented guy just another guy trying to get into a game with my softball club and mess around with girls . . "Many of his friends from his "close knit neighborhood" would become involved with his early films, including writing music scores and scripts.

Kubrick's father taught him chess at age twelve, and the game remained a lifelong obsession. Kubrick later recalled the significance of his chess hobby to his career:

 I used to play chess twelve hours a day. You sit at theboard and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it's really a good idea and whether there are other, better ideas. 

He also bought his son a Graflex camera when he was thirteen, triggering a fascination with still photography. As a teenager, Kubrick was interested in jazz, and briefly attempted a career as a drummer. However, his father was disappointed in his failure to achieve excellence in school, which he felt Stanley was capable of. His father encouraged him to read from his large library at home while at the same time permitting him to take up photography as a serious hobby. These additional interests outside of school may have ironically contributed to his poor performance as a student.

Report 1.

Title: Stanley kubrick


We will make the presentation about the film director Stanley Kubrick, we´re going to do a tribute like that is done in an awards.






Content:

1. Kubrick`s early life
2. Film career and later life
3. Personal life and beliefs
4. Influences
5. Filmography

• Fear and desire
• Flying Padre
• Spartacus
• Lolita
• DR.Strangelove or: How i learned to stop worrying and love the bomb.
• 2001: a space Odyssey
• A Clockwork Orange
• The Shinning
• Full Metal Jacket
• Eyes wide shut

     6. awards and recognition

     7. Death

Kubrick's films

Kubrick's films are characterized by a formal visual style and meticulous attention to detail—his later films often have elements of surrealism and expressionism that eschews structured linear narrative.

Stanley Kubrick.

Stanley Kubrick was a American director, writer, producer and photographer who lived in Englad most of the last four decades of his career